FA/e 179

2023-2024 Fall
FA/e 179
English for Academic Purposes I

Instructor: Fatma Erden

Office: Dolapdere 502A
E-mail: [email protected]

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2023-2024 Fall
Instructor: Fatma Erden E-mail: [email protected]
Office: Dolapdere 502/A Office hours: Check SIS pages

Course Description

English for Academic Purposes is a course designed to help you improve your academic and critical
thinking skills in order to enhance both your content course studies and your English language skills.
The goal of the course is to not only to broaden your academic pursuits but also to develop your
awareness of a range of contemporary social issues and your place within it. The world we live in
today is facing many real crises that can no longer be ignored. It is your generation that will have to
try to solve these crises. So, what will your role be?

Learning Outcomes

Upon successful completion of the course, students will be able to:

 recognize vocabulary and discern meaning from context
 analyse a text
 contextualize a text
 summarize a text in an appropriate format
 write a response paper- expressing and supporting your opinion through research and
evidence

Course Requirements

 Materials: Students need to bring the FA.e179 Booklet to each lesson, alternatively, you
may bring a computer/tablet. You cannot use your phone to download the FA booklet in
class. It is not practical and prevents proper learning. Please bring pen and paper.

 Attendance: Students are highly advised to attend classes regularly. Failure to attend
classes regularly will result in losing track of the ongoing process of learning as well as
missing valuable opportunities to get feedback on their progress.

Your grade will be based on ongoing assessment. Therefore, it is difficult, in fact almost
impossible, to pass the class without attending. 60% of assessed work will be done in class.

If you are absent, you are responsible for everything missed in class. If you miss a class for
any reason, it is YOUR responsibility to check the syllabus and Bilgi Learn, and/ or ask your
classmates to find out what you have missed. However, if you need help, please ask me.
If I am unable to attend class, I will inform you via Bilgi Learn.

 Participation: Participation is different from attendance, and it is what is actually graded.

It requires
 contribution to class discussions and activities,

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 meeting the deadlines for assignments,

 acting with academic courtesy and academic honesty,
 bringing all the materials needed to class,
 following online pages, participating in forums and doing the tasks assigned
regularly.

Online Education Pages (Bilgi Learn)

Since all the announcements on the online page are considered official by the university rules, failure
to follow these announcements will be students’ responsibility. Therefore, students need to follow
the announcements and materials provided through Bilgi Online Education Pages
(learn.bilgi.edu.tr). Students are advised to check Bilgi Learn at least a day before each class in
order to follow weekly pacing and announcements.

We will be using Bilgi Learn for the weekly online component (see below) as well, so please
familiarize yourself with the system.

Class hours (2 hours)

We will have 2 face to face hours each week. In these sessions, the instructor will be teaching weekly
classes, explaining and practicing of the academic skills stated in the outcomes, giving instruction on
how to complete assignments successfully, and giving feedback and so on. Thus, it is of great
importance that you attend these sessions and participate positively -by being prepared before class,
completing any pre-lesson tasks, having your materials ready (FA.e179 Booklet, or, the relevant
weekly material), taking notes, asking questions etc.

Online Component- asynchronous hours (2 hours)

In addition to the weekly classroom hours, every week there is a 2-hour online ‘asynchronous’
session. During this period, you’ll be asked to complete a variety of tasks over the semester that
support the virtual lessons, such as, reading an article.

Online Participation

Online participation is different from in-class participation.

Online Participation requires:

 Participating online in an appropriate manner

 Contributing to discussions and posts with a variety of peers
 Responding in a timely fashion
 Cooperating with peers
The participation grade for in-class activities and your completion of these tasks is 10%.

Assignments

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The assignment descriptions and the rubrics will be uploaded to Bilgi Learn. All assignments and
quizzes will be submitted through Bilgi learn- at least one of them as a ‘turnitin assignment’.

Late Assignments

Late assignments are generally not accepted. If there is some reason you can’t complete an
assignment on time, email me BEFORE IT IS DUE and I might extend the due date. Assignments
should be submitted using Bilgi Learn unless otherwise specified.

Formatting
All work (typed or written) must be done on A4 paper in blue or black ink and should have the
following information in the TOP RIGHT corner of the paper: Name, Class/ section #.
You are required to keep a copy (on your computer) of ALL work you turn in. It is YOUR responsibility
to keep a record of your work.

You are required to use Times New Roman or Calibri, 12-point font, with 1.5 spacing for any typed
assignments.

Academic courtesy:
Academic courtesy means acceptable behaviour in an academic environment. In other words,
students are expected to arrive to class on time, show respect to peers and instructor, and come to
class prepared with the necessary materials. Moreover, students are responsible for following rules
of classroom conduct in addition to university rules. Repeated violations will result in disciplinary
action.

Academic honesty:
Plagiarism, which is showing somebody else’s work as your own, will not be tolerated. It is your
responsibility as a Bilgi University student to prove any work you submit is original, if asked.

 The first time a student is caught cheating in any way (by copying from another student,
copying from someone outside the class, copying from a book/ website/ video or other
media), the student will receive a 0 for the assignment or quiz.
 The second time the student will fail the assignment and will be reported to the Student
Affairs Office, which may result in disciplinary action.

“Burden of Proof”: If the instructor doubts that a student has completed his or her work
independently, it is the student’s responsibility to show that he or she completed the task on
his or her own at each and every stage. Failure to provide evidence is grounds for receiving a
failing grade on the assignment. Use of ChatGPT will not be allowed for written assignments.
It will be considered plagiarism.

Final note for students

Every year, at the end of the semester, I have students who email who have not joined the lessons or
done any of (or very few of) the assignments, requesting if they can do and submit their assignments
late. These students often have real, genuine excuses. However, I cannot help those students who do
not communicate with me throughout the course on their special needs. This course is a learning
process designed to be communicative and interactive, and students need to show, through their
engagement with the course materials and my instruction, that they can use the academic skills and

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achieve the outcomes effectively through their assignments and homework. So, this cannot be
shown in a couple of crammed weeks work at the end of the course. Also, YOK now requires 60% of
assessed work to be done in class. Thus, I will advise such students with issues to re-take the course
the following year, when they can be more focused and effective on their learning.
Assessment

Assignments 90%
- Assignment 1-
Protest Artist (20%)

- Assignment 2 – (30%):
Architecture & Social Issues
Response Paper

- Online tasks - (10%) (4 assessed)

- Reading Quiz 1 - (20%)

- Summary Writing Quiz 2 (10%)

Participation 10%

Letter Grades

95-100 90-94 85-89 80-84 75-79 70-74 65-69 60-64 55-59 50-54 0-49

A A- B+ B B- C+ C C- D+ D F

Assignments missed due to absences and/or submitted after the deadline

cannot be made-up.

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FA/E 179
Weekly Schedule
Istanbul Bilgi University
English Language
2023-2024 Fall 04 December 2024
Program

The “weekly schedule” is open to change. The instructor maintains the right to alter it at her
discretion: the materials, classroom tasks, and the time and type of assignments will be determined
by the instructor upon the students’ needs, and time constraints.

Virtual lessons
Week Asynchronous hours Assessment
(2 hours)

Introduction to the syllabus: -Intro to blackboard- Online Task 1

-Introductions -teacher/Ss (2.5%)
October)
(02-06

-Outcomes and expectations discussion -writing diagnostic

1

-Q and A session Online Task 1: “My Top 3”

-Syllabus Quiz
Academic Reading skills for academic Online task 2- Online Task 2
(09-13 October)

purposes Virtual tour of (2.5%)

-An introduction to reading skills and building/museum
strategies
2

-previewing texts
-Presenting ‘architecture vocabulary’
Vocabulary building: Task 3: Vocabulary
-Looking at sentence structure strategies: Creating a
October)
(16-20

-Vocabulary building strategies glossary (Wiki)

3

-Guessing meaning from context

Critical reading skills: Task 4: Protest songs/lyrics Online Task 4

-Analyzing a text forum (2.5%)
October)
(23-27

-Collaborative note-taking and writing

4

-Questioning techniques

Critical reading Skills cont: Watch a number of

November)
(30 Oct- 03

-Contextualizing a text youtube videos related to

-Cornell note-taking readings
5

-Supporting opinions using evidence-

Writing open ended question practice
Critical reading Skills cont: Task 5: Writing text-related
Online Task 5
November)

-Text analysis and contextualising questions for quiz

(2.5%)
(06-10

practice
6

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Protest Artist Assignment 20%: (Due- Task 6: Reflection: “What I Quiz 1 – (20%)
week 10) have learned so far…” Critical/

November)
-Reading/research/writing Online Forum contextual
(13-17 -Reading Quiz 20% Reading
7

November )
(18-26

MIDTERM EXAM WEEK NO CLASSES

8

GOOD LUCK

Summarizing and citation: Task 7: Analysing a

-Introduction to summarizing and summary. Online task- Ss
(27 Nov- 01
December)

citation skills read summary examples

-practice summary writing and grade them according
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to the rubric

Summarizing and citation cont: Summary Writing

Quiz 10%
December)

-Quiz 2 Summary 10%

(04-08
10

Assignment 1 –
Protest Artist due

Writing a response Paper (30%) Task 8: Watch TED talk Assignment 2 -

Final draft due week 14 videos and note taking 30% Role/power
December)

-‘Architecture and social issues’ details of architects in

(11- 15

-Reading, brainstorming and discussion social issues

11

-research/examining sources Draft 1

Due Week 13

Writing a response paper cont: Task 9: Read and grade

December)

example response papers

(18-22

Opinions, supporting evidence and

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according to rubric
examples

Writing a response paper cont: Task 10: Course Reflection First Draft due
December)
(25 – 29

-Self-Peer evaluation
13

Instructor feedback on Response Ass 2. Response

Paper Final Draft
January)

Papers
(01-05

DUE: January
14

-Wrap up

FA/E 179 Course Introduction WEEK 1

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Using the “Syllabus” document on Blackboard answer the questions and complete the tasks below.
After you have finished we will discuss your answers as a class.

1. Where does the instructor for your course have his office? And what’s his e-mail address?
2. What are we doing in class today? Write down 2 or 3 of the topics that will be discussed.
3. The course has a Midterm and Final written exam. True or False?
4. If you fail to attend or actively get involved class you can lose up 25% of the final grade. True
or False?
5. Write down 3 different ways you will be assessed (eg. Quizzes). Write down the percentage
weightage for each (eg. Quiz 15%)
6. Which two of the following are NOT a Learning Outcome on this course?
a. Recognise vocabulary and guess meaning from context
b. Deliver a presentation
c. Learn advanced-level English grammar
d. Write a response paper
e. Analyse a text
7. What does Format of Assignments explain?
8. Which part talks about cheating and copying other people’s work? In your own words write
down something important that it talks about.
9. You will need to buy a course book before next week. True or False?
10. Make notes on the ONLINE component of this course.
11. What is your first ONLINE Task?
12. How many points do you need to get an A in this course?
13. What do you do if you have a course-related problem that your classmates can not help you
with?
14. The course looks as if it is going to be:
Hard-work Easy

15. Write down 2 adjectives to describe how you feel now.

Well done! You have completed the task.

Online Task 1

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This week you are expected to complete a few simple tasks:

In this task, you are going to post a message to a Discussion Forum - the Discussion Forums
are going to be our main form of communication on this course, so it's important that we all
know how to use them.

You are going to post a list of three things that are important to you. Follow these steps to
complete the task:

1. Go to the Weekly Content --> Week 1. Click on the discussion forum called “Task 1: My
Top Three'.

2. Now think of your own top three. Here are some suggestions to get you started: Choose 2
topics to comment on.

 My top three countries

 My top three cities
 My top three artists
 My top three documentaries
 My top three films
 My top three songs
 My top three museums
 My top three writers

My top three festivals

3. To post your top three, click on the forum. Write your own top three in the message
box and add a title (E.g. My top three museums, etc) in the subject box. Then ‘post’.

4. Comment on or respond to at least two of the other top three postings. To do this, first
open the posting itself, the click on the 'Reply' link at the bottom right hand corner, then write
your comments. Then ‘Post to forum’

Reading Skills for Academic Study WEEK 2

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This week is a brief introduction to academic reading skills and strategies. We will firstly
look at some of the key terms/words, then look at some basic reading strategies. Finally,
we will move on to look at different types of academic texts that you will need to work
with throughout your academic studies at Bilgi and apply some strategies to reading such
texts.

Discuss with your friends:

 What sort of things do you read in your own language?

 What do you read in English?
 You will be given some examples from different types of texts. In your groups, look at the
texts and discuss and take notes about the points below.
- What TYPE of text is it?
- Who is the text written for? Who is the AUDIENCE?
- Why was the text written? What is its PURPOSE?
- How is the text STRUCTURED?
- What is your OPINION of the text? Which of the text types do you like reading?
Which of them do you have to read (even if you don't like reading them)? Which do
you never read? Why?
- Why do you usually read this kind of text? What is your usual PURPOSE when you
read these texts?
- How does your purpose influence how you read? What METHOD do you use?

Understanding What You Read

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Reading comprehension means understanding - deriving meaning from - what you have read. Using a
variety of strategies can help you improve your comprehension and make reading more interesting
and more fun.
READING is... PURPOSEFUL
To get the greatest benefit from your reading, establish a purpose for reading. The way you read
something will depend on your purpose. You read different texts in different ways.

Think about your reasons for reading the text:

 you are interested because it is about your subject, or it is related to your subject
 you want background information, or detailed information
 you want to know what the writer's views are
 you are going to have a discussion
 you are going to write an essay on this subject

As your reading skills improve, you will notice that you apply different strategies to fit the different
purposes for reading. For example, if you are reading for entertainment, you might read quickly, but
if you read to gather information or follow directions, you might read more slowly, take notes,
construct a graphic organizer, or reread sections of text.
In academic reading, you need to be flexible when you read - you may need to read quickly to find
relevant sections, then read carefully when you have found what you want. General efficient reading
strategies such as scanning to find the book or chapter, skimming to get the gist and careful reading
of important passages are necessary as well as learning about how texts are structured in your
subject.

READING is... INTERACTIVE

Reading is an interactive process - it is a two-way process. As a reader you are not passive but active.
This means you have to work at constructing the meaning. You construct the meaning using your
knowledge of the language, your subject and the world, continually predicting and assessing.

 using information from the cover of the book, title, abstract, references etc. to understand
the contents of a text.
 making use of document structure.
 making use of clues from the text, such as headings and sub-headings and referential words
such as "this" and "that" to understand texts.
 using information outside the text, your background knowledge and experience, to
understand texts.
 making connections with other texts you are reading to help to understand your text.

You need to be active all the time when you are reading and use all the information that is available.
It is useful, therefore, before you start reading to try to actively remember what you know, and do
not know, about the subject and as you are reading to formulate questions based on the information
you have. All the information given above can be used to help you formulate questions to keep you
interacting.

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The Reading Process

Good reading skills build on one another, overlap, and spiral around in much the same way that a
winding staircase goes around and around while leading you to a higher place. You need to know and
use the tools you will need before, during, and after reading.

Before Reading
Preview
Before beginning a selection, it is helpful to preview what you are about to read. Previewing enables
you to develop a set of expectations about the scope and aim of the text. These very preliminary or
basic impressions offer you a way to focus your reading.

Scanning means running your eyes quickly over the material to look for words or phrases. Scan when
you need a specific piece of information.
Skimming means reading a passage quickly to find its main idea or to get an overview. Skim a text
when you preview to determine what the material is about.

Draw on Personal Background

Drawing on personal background may also be called activating prior knowledge. Before you start
reading a text, ask yourself questions like these:
 What have I heard or read about this topic?
 Do I have any personal experience relating to this topic?

Using a K-W-L Chart

A K-W-L chart is a good device for organizing information you gather before, during, and after
reading. In the first column, list what you already know, then list what you want to know in the
middle column.
Use the third column when you review and assess what you learned. You can also add more columns
to record places where you found information and places where you can look for more information.
K
Topic of the text:

What I know on this topic What I want to Know What I have learned

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How to preview different written texts

Books
As a university student, you will be given a vast amount of readings from books and academic
journals for your courses. There is not enough time to read everything line by line. You need to be
able to read efficiently. The way you read something will depend on your purpose. You need to read
quickly to find relevant sections, then read carefully when you have found what you want.

 examine the title and try to predict the kinds of issues the book might deal with
 scan the contents pages and index to see if the issues that concern you are discussed,
and if so, whether extensively or only briefly
 Look at the chapter titles. If the chapter seems useful, look at the headings and sub-
headings.
 Scan the preface and blurb (publisher's comments on the cover)
 scan the introduction at the beginning of the chapters and summaries at the end
 scan the references part if you want to refer to some other sources related to the topic

Look at the front and the back cover which provides a blurb on the book:
From Dawn to Decadence by Jacques Barzun (2001).

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Considering the book title, try to predict the content of the book.

First consider what you already know about the topic. Then think of some questions to
which the book might supply answers.

Now look at the table of contents and try to predict the content.

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You will need to work out which section of a book deals with information you are looking for.
However, academic books are usually specialised and it may be very difficult to predict what they
might be about if you do not already have some familiarity with the subject.

Generally, at the beginning of the book, you may find the introduction, author’s note or prologue
section which may give you an idea about the topic, content or organisation of the book.

You can also have a look at the first chapter and the last chapter.
In the first chapter, the author sometimes outlines what topics he is going to deal with in the book,
why he is interested in those topics and how he is going to deal with them. This information can give
your ideas about how useful the book is going to be to you, and possibly also on which parts of the
book you are going to concentrate.
The last chapter is often invaluable for survey purposes, because the writer may summarise his main
arguments and list his conclusions. At the very least, knowing where the author’s argument is
heading should make it easier for you to understand the book.

Below you will find some excerpts from the part “Author’s Note” and the “Prologue”.
Consider your predictions about the book in the light of this information.

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Some books have a glossary part which can help you to understand terms better.

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References, sometimes referred as bibliography, and notes will lead you the sources the
author has reviewed and cited from. If you need to read more on some issues discussed,
you can refer to these sources.

Journal Articles
If you are required to read an article from an academic journal, first of all, you need to know the
parts of it. At the beginning of many journal articles, you will find an abstract of the article. If the
abstract has been properly written, it should give a helpful summary of the content of the article.
This is obviously extremely useful, so abstracts should be read very carefully. It is also usually helpful
to focus on the sub-titles and read the first and last paragraphs in the article. You should also pay
attention to visuals, tables and diagrams, which give more information on the topic and may provide
evidence.

In research articles, title, abstract, introduction, methodology, results/findings, discussion

/comments / conclusion and references give you information about the study and different stages of
the research.

 examine the title and/or section headings and sub-headings, and try to predict
the kinds of issues the text might deal with
 skim through the introduction and the conclusion looking specifically for
statements about the main issues dealt with by the text
 look at pictures, graphs, diagrams, and tables

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TASK: You are assigned to write an essay discussing the idea that “music and
performing arts have a power in uniting individuals in a particular movement for social and
political change”.
What are the key words you should focus on?
Think of some questions to which you should give answers in your essay.
-
-
-

Songwriting and Activism: A Young Singer’s Efforts to Write Himself into the Traditions of an
Activist Group

ROSS COLLIN
School of Education, Manhattanville College, Purchase, NY, USA

ABSTRACT This article examines how music functions as a vehicle by which people may place
themselves in social movements. Centering questions of culture, the article describes how an
environmentalist group based in the north-eastern USA used music to: (1) assert a collective
identity; (2) project a past, present and future; and (3) forge relationships among group members
and between group members and the general public. Against this background, the article
considers how a young activist used music to take on and adapt a movement identity and
position himself within the movement’s traditions and social relations. In a discourse analysis of a
song this young activist composed and performed at the group’s summer music festival, the
article shows how he adapted a range of cultural resources to reimagine and place himself within
the group’s relations of time and social space.

Ross Collin (2013) Songwriting and Activism: A Young Singer's Efforts to Write Himself
into the Traditions of an Activist Group, Social Movement Studies: Journal of Social,
Cultural and Political Protest, 12:4, 448-465, DOI: 10.1080/14742837.2013.779455

You have done some research and found the articles below. Read the abstracts of the
articles and decide whether any of them will be a good source for your essay. Do you need
some other sources? Why?

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New trends of managerial roles in performing arts: empirical evidence from the Italian context

BARBARA SLAVICHA AND FABRIZIO MONTANARI

Department of Management, Bocconi University, Milan, Italy; OPERA, University of Modena and
Reggio Emilia & ASK, Bocconi University, Milan, Italy

Since the 1990s the Italian performing arts sector has been characterized by juridical, social and
economic changes, due, for instance, to new technologies, increasing environmental competition
and contamination among different artistic realities. These new trends have increased the
industry’s complexity and forced organizations to undertake processes of internal reorganization. In
particular, Italian organizations have faced such challenges through the recruitment and training of
human resources with managerial competencies. Accordingly, nowadays managerial roles seem to
be more critical than artistic ones. This paper aims to investigate “the state of the art” in terms of
internal reorganization experienced by Italian organizations operating in the performing arts. In so
doing, it draws on the resource-based perspective and discusses the results of an empirical
investigation conducted through the administration of a questionnaire.

Barbara Slavich & Fabrizio Montanari (2009) New trends of managerial roles in
performing arts: empirical evidence from the Italian context, Cultural Trends, 18:3, 227-
237, DOI:
10.1080/09548960903065261

Music preferences and civic activism of young people

AMBROSE LEUNG AND CHERYL KIER

Department of Economics, Bishop’s University, Sherbrooke, Quebec, Canada; Department of
Psychology, Athabasca University, Athabasca, Alberta, Canada

This study examines the relationship between music preferences and civic activism among 182
participants aged 14-24 years. Our analyses show that participants who regularly listened to certain
music genres such as classical, opera, musicals, new age, easy listening, house, world music, heavy
metal, punk, and ska were significantly more likely to be engaged in civic activism than those who
preferred other music genres. Previous literature had shown that political expression was
associated with certain music genres, but our analysis provides empirical evidence that music
genres associated with political expression are related to actual participation in civic activities, not
just ideology. Discussion revolved around the importance of clustering music genres and music as
part of youths’ lifestyles in the context of civic activism.

Ambrose Leung & Cheryl Kier (2008) Music preferences and civic activism of young
people, Journal of Youth Studies, 11:4, 445-460, DOI: 10.1080/13676260802104790

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Academic Texts
Academic texts deal with concepts and ideas around one central theme and every part contributes
to the main point.

Authors of academic texts:

 raise abstract questions and issues.

 present facts and evidence to support their claims.
 use logic to build their arguments and defend their positions.
 conform to a clearly-defined structure.
 choose their words carefully to present their arguments as effectively as possible.
 try to convince us to accept their positions.

Skimming is useful when you want to survey a text to get a general idea of what it is about. In
skimming you ignore the details and look for the main ideas. It is also useful to pay attention to the
organisation of the text.

In most academic writing, the text is organised clearly with an introduction and a conclusion. The
introduction gives you an idea of what the text is going to be about and the conclusion shows that
this is what it has been about. You can therefore get a good idea of the overall content of a text by
reading the first and last paragraphs of a text. This should help you get a feeling for the content of
the text.

The text may be organised through the use of headings and sub-headings. You can therefore get a
good idea of the overall content of a text by reading the headings and sub-headings first. This should
help you get a feeling for the content and organisation of the text.

The paragraph is a coherent unit, about one topic, connected to the previous and next paragraphs.
Paragraphs are organised internally and the first sentence of each paragraph is often a summary of,
or an introduction to, the paragraph. You can therefore get a good idea of the overall content of a
text by reading the first sentence of each paragraph. If there is no topic sentence, also check the last
sentence of the paragraph as it may be the summarising the paragraph. This should help you get a
feeling for the structure of the text.

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Online Task 2 ‘Forum discussion’

Week 2

In this task, you are going to post a message to a Discussion Forum after you visit one of the

architectural sites in the article, ‘Virtual Travel for Architecture Lovers’.

Firstly, click on the link below to read the article -

https://brightnomad.net/virtual-travel-architecture/
Second, chose ONE of the following virtual tours that interests you the most.

1. Casa Batlló by Antoni Gaudí in Barcelona, Spain

2. Villa Tugendhat by Mies van der Rohe in Brno, Czech Republic

3. Venaria Palace in Venaria, Italy

4. Golestan Palace in Tehran, Iran

5. The Opera House in Sydney, Australia

6. The Cube Houses in Rotterdam, The Netherlands

7. Guggenheim Museum by Frank Gehry in Bilbao, Spain

8. Villa Savoye by Le Corbusier in Poissy, France

Thirdly, click on the related link in the article and take the virtual tour.
Then, as you are taking the virtual tour, take notes on the things/items you most want to talk
about or comment on. (You may want to check out and comment on more that one of the
virtual tours- That’s great)

- the Discussion Forums are going to be one of our main forms of communication on this
course, so it's important that we all know how to use them.

*Online Task 2- You are going to post your comments, ideas and opinions and general views
about your experience exploring the virtual architectural site- Write about anything you want
actually- For example;

 your favourite item, image, painting, design, sculpture, room etc, please be descriptive
 the design layout of the virtual exhibition
 the facilities –the building, bookshop, café, information available, prices etc;
 include a photo or two of something you would like to comment on
 your evaluation of the virtual tour, usability, design etc.
 any criticisms you may have
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Follow these steps to complete the task:

1. Go to the ‘Forum’ Discussion --> Week 2. Click on the discussion forum called “Online
Task 2: ‘The virtual tour'.

2. Write your comments on your experience of your chosen vitual tour.

3. To post your comment, click on the ‘post’ button.

4. Comment on or respond to at least two of the other top three postings. To do this, first
open the posting itself, the click on the 'Reply' link at the bottom right hand corner, then write
your comments. Then ‘Post to forum’

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SENTENCE STRUCTURE/VOCABULARY WEEK 3

This week, we will look at understanding sentence structure and vocabulary. Primarily, we
will look at some useful strategies to help you deal with unknown words and improve your
academic reading and writing by understanding (and producing) more complex sentences

https://www.youtube.com/watch?v=C3_0GqPvr4U (Give peace a chance - J. Lennon)

Discuss with your friends:

 To understand a sentence written in English, it is not always enough to know the meaning of
the words. What else can be a clue to understand the meaning?
 In academic texts, what types of sentences are generally preferred?
 What strategies do you apply to understand the sentences better when reading?

UNDERSTANDING THE STRUCTURE OF SENTENCES

When the meaning of a long sentence is not clear, it is helpful to begin by finding the main elements
of the sentence - its subject and its verb. The part of the sentence preceding the verb is the subject of
the sentence (it answers the question who? or what?). The part of the sentence following the verb
gives additional information; it completes the main idea.

Subjects may be in different types:

Music requires concentration.
Making music requires concentration.
To make music requires concentration.
To make music in order to make people entertained requires concentration.

When looking for the main verb of the sentence (the verb of the whole structure) remember that the
subject position may be filled by a sentence (clause) with a subject and verb of its own. This subject
clause is introduced by that, who, what, when, how, whether, whoever, and whatever.

What the student said about making music surprised the instructor.
Whether he will agree to join our band or not will not change our plans.

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That he was prepared to play in the band for a year without being paid surprised the group
members.
EXPANSIONS OF THE BASIC SENTENCE

In most academic texts, you will find long complex sentences. It is helpful to remember that even
long and complicated structure can be seen as an expansion of a basic sentence. It contains a main
clause and dependent clauses; each giving additional information. The dependent clauses are joined
to the main clause by means of connectives. These connecting words act as guides in sentence. They
help us to divide the long structure into manageable units, and they show the logical relationship
between the parts.

Look at the following diagram. It contains a simple basic sentence, and it shows how this basic
sentence can be expanded by units that give additional information.

because they have if the concert hall is

released their new available on that day.
album last week.
WHY?  because, UNDER WHAT
after they get the
since, due to, owing CONDITION?  if, unless,
necessary
to, etc. provided that, on
permissions.
condition that, in case,
EN?  after, etc.
ore, once, when,
whereas their IN CONTRAST
e, as soon as, etc. The band wants to give a
manager TO WHAT? 
concert
thinks it is too while,
early. whereas

WHAT WILL BE THE FOR WHAT PURPOSE?

RESULT?  so, so that  so that, in order to, in
the hope that

HAT? 
pite of, so we may have a chance in the hope that they
though to see them on the can reach many people.
stage.

vocalist has
eeks.

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This technique of diagramming (dividing long complex sentences into meaningful units) can be useful
when there are difficulties with comprehension.
If you want to divide a sentence into meaningful parts, follow the steps listed below.

Step 1: Isolate the main clause. This is the clause that is not introduced by a connective. Note that
when the main clause is separated from the rest of the structure, it can stand alone as a complete
sentence. It expresses the main point of the sentence.

Example: Despite the gravity of their subject matter, many protest songs shared a common element
in humor so that people can realize the strong point of view on a serious subject when they go home
after they enjoy the entertainment.

Step 2: Isolate the rest of the clauses using the markers as a guide.

Example: Despite the gravity of their subject matter, many protest songs shared a common element
in humor so that people can realize the strong point of view on a serious subject when they go home
after they enjoy the entertainment.

A complex sentence may contain dependent clauses that tell us what kind of or which person (s) or
thing(s) the sentence is about. These adjectival clauses modify the nouns in the subject or
complement position. They are usually introduced by the connectives who, whom, whose, which and
that.
When sentences are long and difficult, it is often helpful to separate adjectival clauses from the noun
it modifies. Since the adjectival clause is always a part of the subject or complement group, it should
stay close to the word(s) it describes.
Example:
The population survey that will be carried out next week will give much useful information to
sociologists who are investigating the relationship between music and social change.

In many cases, the adjectival clause is reduced, and the connective and the verb to be are deleted.

Example: The Greeks were among the first people to truly realize the potential power of music.
Greek intellectuals, known for creating democracy and the republic, also understood how music
could help move a society to rebel against their government.

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UNDERSTANDING THE STRUCTURE OF PARAGRAPHS

Cohesive Devices

Instead of treating paragraphs as separate ideas, transitions can help readers understand how paragraphs work together, reference one another, and build
to a larger point.

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Linking Words - A complete List - Sorted by categories Freely available from http://www.smart-words.org/ © 2013

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TASK: Analyse the sentences below to understand its meaning. Highlight the
cohesive devices/linkers used. What other linkers can be used instead of them?

 That connection becomes even more effective as a means to unity when one considers that
music constitutes a means of reaching vast numbers of people with an idea, and the power of
one single song to affect an entire generation of individuals makes it an invaluable tool of
education and mobilization.

 In an interview, Noel (Paul) Stookey, of Peter, Paul and Mary, reasoned that music not only
inspires what he calls “a common experience of emotion,” both eliciting emotion from a single
listener while uniting that listener with others in that same experience, but it also allows for a
powerful teaching and learning experience when lyrics express thought coherently. Thus, while
the experience of music serves to unite people emotionally, the lyrics bring to listeners a new
way of thinking.

 A song has the power, because it unites listeners on the basis of both emotion and knowledge,
to move people to action in the interest of social or political change. Think of “Give Peace a
Chance,” which united large numbers of individuals during the large-scale anti-war protests
during the “60s,” and helped to drive that movement forward on the basis of a single idea –
peace – because of that unity.

 Although stemming from different genres and musical traditions, any music created from a
politically or socially conscious mind for the purpose of protest and change is musical activism.
Similarly, although popularity may be an indication of the impact a particular song or album had,
or has, on the social and political consciousness of an era or movement, one cannot disregard
the evidence of musical activism provided by artists without as much exposure.

 What this field has lacked is a space in which music for social change from all genres and
degrees of popularity can be compiled to strengthen the already existing, but currently
separate, communities of listeners and artists into one that transcends all boundaries and exists
solely on the desire to change the world for the better.

 The site will offer visitors the opportunity to search for music for social change by cause as well
as by genre, and allow visitors to grow the musical database themselves by adding new music to
the website.

 The importance of uniting music for social change across genres, and thereby uniting listeners
not by genre but by cause, cannot be overstated. Not only would being able to unite listeners by
cause help to drive forward movements for social and political change, but it would also help to
enrich listeners’ consciousness of both the music and the cause.

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From http://www.neontommy.com/news/2012/06/music-social-change-essential-part-progress “Music for Social Change Essential Part of

Progress” byCara Palmer | Opinion Editor June 9, 2012 | 9:07 a.m. PDT

UNDERSTANDING VOCABULARY

Discuss with your friends:

 Is it necessary to understand all the words when you are reading to understand the
meaning of the sentence or the text?
 How can we decide which words are essential to understand?
 How do you try to predict the meaning of an unknown word while reading a text?

Identifying Vocabulary Needed to Understand a Text

Word identification and vocabulary skills are the building blocks of the reading and the writing process.
By learning to use a variety of strategies to build your word skills and vocabulary, you will become a
stronger reader.

When reading an academic text there are probably many words that you don’t know. One strategy to
help you is to try and divide the words into four types.

Try to guess the meaning of the four types below:

Essential Vocabulary:

Non-Essential Vocabulary:

Key Words:

Field Related Terminology:

 Try to identify the four types of vocabulary in the sentences below.

The combination of the right script, costumes and characterization can give a strong message to the
audience and consequently build a group identity, stir strong emotions, engage audiences and amass
people to take action. This makes a theatrical performance the perfect partner for social change.

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 Read the text below using three different colour pens to circle the three types of vocabulary:
Essential Vocabulary, Key Words and Field Related Terminology. Ignore the Non-Essential
Vocabulary.

Arts and culture leaders have a rewarding but tough task: creating sustainable organizations that deliver
real social value. There is a lot of competition out there. Being an effective leader means constantly
adapting, cleverly using the best tools to reach as many people as possible. The key word is innovation,
which means the development and testing of new ideas, concepts and processes. You should sharpen
your leadership potential and ability to function ethically, imaginatively and resourcefully to advance the
arts and promote them nationally and internationally.

 Now that you have identified the words needed to understand the text, your next step will be
to understand the meaning of these words. Look at the sentence below and try to predict the
meaning of the word in bold.

“Mick Jagger is famous for his frugality”.

Now use a larger context to guess the meaning of “frugality”.

Jagger reportedly pulled out of buying a painting by bandmate Ron Wood because the $140,000 price
tag "scared him off." His ex-wife, model Jerry Hall, complained, "He always wanted me to pay for
everything to do with the house and the children. He's generous with gifts and presents, but yeah, he's
pretty tight with the day-to-day stuff." He explains that he was taught as a child to be frugal: "We don't
like to throw computers away as soon as they don't work -- apart from out of the window in frustration.
We like cars to be repaired instead of junked."

http://www.dailyfinance.com/photos/most-frugal-celebrities/?photo=2#!fullscreen&slide=989190

1. Now, can you guess the meaning of frugality/frugal?

2. What part of speech is frugal?
3. How did you find the meaning? What contextual clues helped you find the meaning of the
word?
4. Does the word have a positive or negative meaning in your opinion?

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5. Do you know any related words, similar or opposite (synonyms or antonyms)? Are they positive
in meaning, or negative?

DEDUCING THE MEANING OF WORDS

Comprehension improves when you know what the words mean. Since comprehension is the ultimate
goal of reading, you cannot overestimate the importance of vocabulary development.

It is not possible that you use a dictionary every time you come across an unfamiliar word. You try to
guess the meaning of the word by looking for clues either in the structure of the word or the context in
which the word appears.

Deducing meaning from word structure

Word Origins Since Latin, Greek, and Anglo-Saxon roots are the basis for much of our English
vocabulary, having some background in languages can be a useful vocabulary tool. For example,
astronomy comes from the Greek root astro, which means “relating to the stars.” Stellar also has a
meaning referring to stars, but its origin is Latin. Knowing root words in other languages can help you
determine meanings, derivations, and spellings in English.
Prefixes and Suffixes A prefix is a word part that can be added to the beginning of a word. For example,
the prefix semi means “half” or “partial,” so semicircle means “half a circle.” A suffix is a word part that
can be added to the end of a word. Adding a suffix often changes a word from one part of speech to
another.

Deducing meaning from context

Another helpful way to find the meaning of a word is by using contextual clues.

A context creates expectations that enable us to predict what is going to come. Even a very small
context can sometimes be helpful. We may not know exactly which word will be used, but we know
which concepts tend to appear in the same context. For example, in a text on music, we would expect to
find words like beat, chord, clef, accelerando, duet, and so on, but we would not expect to find terms
taken from the areas of law or business. In the same way, we expect the verb achieved to be followed
by such words as success, aspiration, and aim that have a positive connotation while we expect the verb
feared to be followed by concepts that go together with fear like failure, anger, exposure, and so on.

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Contextual clues

Never stop reading when you meet a word or expression you do not know. If you continue, you may get
at least a general understanding of what the word means from the context.

The ability to infer the meaning of an unknown word by looking at the vocabulary around it or its
context is an important reading skill. The context here refers to the sentence or paragraph where the
unfamiliar word appears, which provides the reader with information to make sense of the term.

Below, you will find examples of those contextual clues that may help you to deduce the meaning of
unfamiliar words.

1. The words that is (i.e.), namely, for example (e.g.), to put the thing in another way, and in other
words or punctuation marks, usually a colon (:) or a dash (-), tell us to expect an example or an
explanation.
Example: How much of the music ability is innately specified? (i.e., how much of the music
ability is the child born with?)

The “i.e.,” shows us that the idea is going to be repeated in other words. The parallel expression
to innately specified is (the child) born with and so that is its meaning.

What other expressions, signal words and/or punctuation marks can be used to give examples or
make explanations?

2. A word with a similar meaning (synonym) is found in the context.

Example: When he made insolent remarks towards one of his fans, he was harshly criticized for
being disrespectful on social media.

3. A word with an opposite meaning (antonym) is found in the context.

Example: Some musicians fight against social discrimination as they are aware that to be white
and not black, affluent and not poor, gives a person status in certain social groups.
4. The meaning of the word is explained in the context.

Another very basic measurement of music is the 'pulse'. This is present in almost all
forms of music, and is particularly strong in modern popular music. The pulse is the
regular beat which runs through a tune. When you tap your foot or clap your hands in
time to a song, you are beating out the pulse of that song.

5. The explanation can be found in a sentence that follows. The connection is shown by a
reference word.

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Example: The crowd rewarded the singer with plaudits. This extreme praise of audience by
clapping and cheering during a standing ovation made the singer pleased with his performance.

 Now try to apply the contextual clues we just learned to the texts below. Try to guess the
meanings of the bold-faced words without using a dictionary. What contextual clues helped
you predict the meaning of the words?

Despite occasional media laments that "protest music is dead," a new generation of performers has
been revitalizing music's links to movements, often self-consciously modeled on the folk singers of the
past.

The emergence of YouTube and other new technologies has blurred the lines between
commercial and non-commercial music and made it easier for performers to spread their music:
in Spain, Egypt and elsewhere in the world the songs are used in mass protests.

The new means of cultural production are complex and variegated. It is impossible to keep
track of the many ways music and protest are now connected.

Art and artistic expression serve many functions in political protest, some of them aimed at producing
knowledge and solidarity within the group of protesters and others as a means of communicating to those
outside what the protest is all about. Music and song are very important in forging group solidarity, a sense
of belonging and common purpose. They also are means of overcoming fear and anxiety in trying
situations. Music is a great recruiting tool which has been used by all sides of the political spectrum to
transmit ideology. Music, song, poetry and works of visual representation are important in creating and
communicating a collective narrative, articulating who we are, where we come from, what we stand for and
what we are against.

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Online Task 3
Vocabulary building sites/apps/glossary

Your online task for this week is to look at the links below and choose the one you like best to
use for your own personal vocabulary building. Building up your vocabulary and recording
important course related words is a necessary step to improving your general English academic
skills, which will help you on the path of becoming an independent learner.

1. https://play.google.com/store/apps/details?id=com.magoosh.gre.quiz.vocabulary&hl=en

2.https://myvocab.org/?
gclid=Cj0KCQjwnqH7BRDdARIsACTSAduikbmAg4JTv2dpxTQTzMoyhn54YQnWpNVk8KA7JFr3gctQQXSOk
Y0aAr0REALw_wcB

3. https://www.vocabulary.com/

4. https://www.paperrater.com/vocab_builder/index

5. https://www.youtube.com/watch?v=nN7UboLSMpk

*So, after choosing the site which you find most suitable, continue recording the new
vocabulary you want to rememember and reuse.

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REFLECTIVE / CRITICAL READING WEEK 4

This week, we will go deeper into the important critical reading skills and ‘questioning
techniques’ that you will practice and apply throughtout this semester and beyond. We will
firstly look at what critical reading is and how it is done sucessfully through a number of
strategies. Then we will look at effective ways/methods of taking reading notes. Finally, we
will look at different types of questions that you will use and ask while dealing with a text

Critical writing depends on critical reading. Most of the papers you write will involve reflection
on written texts - the thinking and research that has already been done on your subject. In
order to write your own analysis of this subject, you will need to do careful critical reading of
sources and to use them critically to make your own argument. The judgments and
interpretations you make of the texts you read are the first steps towards formulating your own
approach.

To read critically is to make judgments about how a text is argued. This is a highly reflective skill
requiring you to "stand back" and gain some distance from the text you are reading.

THE KEY IS THIS:

 don't read looking only primarily for information

 read looking for ways of thinking about the subject matter

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How Do I Read Critically? - 7 CRITICAL READING STRATEGIES

* Look at the 7 critical reading strategies explained below. Match the correct strategies with
their explanations.

*Outlining and summarizing *Reflecting on challenges to your beliefs and values

*Contextualizing *Comparing and contrasting related readings
*Questioning to understand and remember *Previewing
*Analyzing and Evaluating an argument

1. __________________________: Learning about a text before really reading it.

This strategy enables readers to get a sense of what the text is about and how it is
organized before reading it closely. This simple strategy includes seeing what you can
learn from the headnotes or other introductory material, skimming to get an overview
of the content and organization, and identifying the rhetorical situation.

- What does the presence of headnotes, an abstract, or other prefatory material tell you?
- Is the author known to you already? If so, how does his/ her reputation or credentials influence
your perception of what you are about to read? If the author is unfamiliar or unknown, does an
editor introduce him/her (by supplying brief biographical information, an assessment of the
author’s work, concerns, and importance)?
- How does the disposition or layout of a text prepare you for reading? Is the material broken
into parts--subtopics, sections, or the like? Are there long and unbroken blocks of text or smaller
paragraphs or “chunks” and what does this suggest? How might the parts of a text guide you
toward understanding the line of inquiry or the arc of the argument that's being made?
- Does the text seem to be arranged according to certain conventions of discourse? Newspaper
articles, for instance, have characteristics that you will recognize; textbooks and scholarly essays
are organized quite differently. Texts demand different things of you as you read, so whenever
you can, register the type of information you’re presented with.

2. ___________________________: Placing a text in its historical, biographical, and cultural

contexts.

When you read a text, you read it through the lens of your own experience. Your
understanding of the words on the page and their significance is informed by what you
have come to know and value from living in a particular time and place. But the texts
you read were all written in the past, sometimes in a radically different time and place.

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To read critically, you need to contextualize, to recognize the differences between your
contemporary values and attitudes and those represented in the text.
When you contextualize, you essentially "re-view" a text you've encountered,
acknowledging how it is framed by its historical, cultural, material, or intellectual
circumstances. Do these factors change, complicate, explain, deepen or otherwise
influence how you view a piece?

3. _______________________________: Asking questions about the content.

As students, you are accustomed to teachers asking you questions about your reading.
These questions are designed to help you understand a reading and respond to it more
fully, and often this technique works. When you need to understand and use new
information though it is most beneficial if you write the questions, as you read the text
for the first time. With this strategy, you can write questions any time, but in difficult
academic readings, you will understand the material better and remember it longer if
you write a question for every paragraph or brief section. Each question should be
expressed in your own words, not just copied from parts of the paragraph.

4. ________________________________________: Examining your personal responses.

The readings that you do might challenge your attitudes, your unconsciously held
beliefs, or your positions on current issues. As you read a text for the first time, mark an
X in the margin at each point where you feel a personal challenge to your attitudes,
beliefs, or status. Make a brief note in the margin about what you feel or about what in
the text created the challenge. Now look again at the places you marked in the text
where you felt personally challenged.

5. ______________________________: Identifying the main ideas and restating them in your

own words.

Outlining and summarizing are especially helpful strategies for understanding the
content and structure of a reading selection. Whereas outlining reveals the basic
structure of the text, summarizing synopsizes a selection's main argument in brief. The
key to both outlining and summarizing is being able to distinguish between the main
ideas and the supporting ideas and examples. The main ideas form the backbone, the
strand that holds the various parts and pieces of the text together. Outlining the main
ideas helps you to discover this structure. When you make an outline, don't use the
text's exact words.

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Putting ideas together again -- in your own words and in a condensed form -- shows how
reading critically can lead to deeper understanding of any text.

6. ______________________________: Testing the logic of a text as well as its credibility

and emotional impact.

All writers make assertions that they want you to accept as true. As a critical reader, you
should not accept anything on face value but to recognize every assertion as an
argument that must be carefully evaluated. An argument has two essential parts: a
claim and support. The claim asserts a conclusion -- an idea, an opinion, a judgment, or a
point of view -- that the writer wants you to accept. The support includes reasons
(shared beliefs, assumptions, and values) and evidence (facts, examples, statistics, and
authorities) that give readers the basis for accepting the conclusion. When you assess an
argument, you are concerned with the process of reasoning as well as its truthfulness.
At the most basic level, in order for an argument to be acceptable, the support must be
appropriate to the claim and the statements must be consistent with one another.

Analyzing adds an evaluative component to the summarizing process—it requires you

not just to restate main ideas, but also to test the logic, credibility, and emotional
impact of an argument. In analyzing a text, you reflect upon and decide how effectively
(or poorly) its argument has been made. Questions to ask:

- What is the writer asserting?

- What am I being asked to believe or accept? Facts? Opinions? Some mixture?
- What reason or evidence does the author supply to convince me? Where is the strongest or
most effective evidence the author offers?

7. _______________________________: Exploring likenesses and differences between texts to

understand them better.

Many of the authors we read are concerned with the same issues or questions, but
approach how to discuss them in different ways. Fitting a text into an ongoing dialectic
helps increase understanding of why an author approached a particular issue or
question in the way he or she did.

From http://www.salisbury.edu/counseling/new/7_critical_reading_strategies.html

http://guides.library.harvard.edu/sixreadinghabits

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TAKING READING NOTES

Discuss with your friends:

 Do you think it is important and beneficial to take notes when reading?

 Do you take notes when you are reading a text?
 What method(s) do you apply when taking notes?
 Are your notes helpful to remember the text?

Effective note-taking is an important practice to master at university. You have a lot of new knowledge
and you need to develop reliable mechanisms for recording and retrieving it when necessary. But note-
taking is also a learning process in itself, helping you to process and understand the information you
receive.

Good note-taking...

 enables you to avoid unintentional plagiarism

 helps you to focus on what is important in what you are reading or hearing
 helps you to understand and remember material, and make connections
 helps you to structure the assignments you're researching
 provides a personal record of what you've learnt (more useful than your lecturer's or friends'
notes) and records your questions and ideas
 sets you up for exam revision

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How can I take reading notes?

 Underline: After reading each paragraph, look for the important information. Highlight
or underline that information, especially if you think you will need to review it later.

 Take Notes on key information that you highlighted or underlined in the reading.
Summarize the information, don’t copy the information from the reading. Taking notes
will help you understand the information better.

Below you will see some samples of reading/lecture notes. Discuss the effectiveness of
each technique in terms of avoiding plagiarism, highlighting important parts, remembering
and understanding the text, etc. with your partner.

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There are many methods for note taking. The Cornell Note-Taking System is a well-known
method that can help you organize what you read.

(See appendix 2 page 15-16 for Cornell note-taking templates)

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How to take Cornell notes

https://www.youtube.com/watch?v=WtW9IyE04OQ&t=3s

Reading academic texts-

https://www.youtube.com/watch?v=6pPqGH6PMcE

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INTERPRETING TEXTS CRITICALLY: ASKING QUESTIONS

When you finish reading the text, ask yourself:

 How has this added to your knowledge?

 Do you agree with the arguments, research methods, evidence, etc.?
 Add any of your own ideas – indicating that they are YOUR ideas use [ ] or different colors.

Review: Once you have completed the entire chapter, review the information to help reinforce it.
Creating questions could help you remember the information and prepare you to write, discuss and
present about the text.

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From http://www.writing.utoronto.ca/advice/reading-and-researching/critical-reading

http://www.reading.ac.uk/internal/studyadvice/StudyResources/Reading/sta-academicreading.aspx#techniques

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Asynchronous hours-

This week you will practice reading skills on a text about Chartres Cathederal Watch the 3
Youtube videos on the Chartres Cathederal and take notes.

https://www.youtube.com/watch?v=Nswicka4GF8

https://www.youtube.com/watch?v=16zh6zPlX98

https://www.youtube.com/watch?v=Jk3VsinLgvc&t=5s

Reading Skills Practice Task

(*See appendix 3 page-18-21) Chartres and medieval aesthetics

Read the exerpt ‘Chartres and medieval aesthetics’ from ‘But is it Art?’, chapter 2 ‘Paradigms
and Purposes’ from Cynthia Freeland.
Before, while and after reading, practice the 7 reading strategies below (read back over pages
3-5 for more details)

Previewing- Skim the text looking at headings and how the text is organized

Contextualizing- re-view the text and note differences between your own experience and
values concerning history, culture, society etc.

Reflecting on challenges to your beliefs and values- note down what you feel were personal
challenges to your beliefs/values in the text

Questioning to understand and remember- write questions for each paragraph/section to help
you understand and remember

Outlining and summarizing- Do a basic outline of the text- main ideas in your own words.

Analyzing and Evaluating an argument-look for examples of evidence the support the writer’s
opinion

Comparing and contrasting related readings- What similarities/differences were expressed on

other texts/listenings on the same topic?

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Online Task 4 WEEK 4

Last week, some of the material in the FA/e179 Booklet was about ‘protest music’. Go to the link
below and read the full article- ‘The Best Protest Songs of all Time’. Read and listen to some of
(or all of) the listed protest songs from music history.

Your online task for this week will be commenting and adding your own opinions and thoughts
on the general topic of protest music in a ‘forum’ on Bilgi learn. It would be a good idea listen to
the full song(s) on youtube and download the full lyrics for a better understanding of the song.

Feel free to comment on the following in the forum threads.

 Your opinion/feelings about the song/music/lyrics/artist

 Upload or mention any other protest song you love not on the list for other students to
listen to and comment on
 Your personal top 3 protest songs
 What about Turkey and protest songs/artists?
 Your opinion on music/artists today- Do you feel there is less or more socially conscious
artists today?
*Remember. Forums are student-centered and student directed. So feel free to discuss
openly and freely and take the conversation where you want it to go. Enjoy and learn.

The best protest songs of all time

Let these protest songs by Billie Holiday, Bob Marley, Bruce Springsteen and
more give voice to your dissent

By Tolly Wright Posted: Tuesday March 6, 2018

Why shout your righteous anger when you could sing it with protest songs? From chart-
topping Motown songs to roaring classic rock songs, musicians of all genres have
voiced their support for causes such as civil rights and an end to war. With the recent
surge of activism in New York and beyond, new activists can hum these numbers as
they fight for immigrant rights or demonstrate to protect the environment.

Go to the link below for the full article-

https://www.timeout.com/newyork/music/best-protest-songs-of-all-time

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Critical Reading WEEK 5-

6
In these next 2 weeks, we will continue our critical reading strategies and practice
contextualizing a text. In particular, we will examine different types of supporting evidence
used by the author, and practice reading note-taking using the Cornell note-taking method.
Note: The text ‘Gender, genius and Gorilla Girls’ by Cynthia Freeland will be used for our quiz
in week 8.
For critical reading practice, we will work on the texts “Gender, genius and the Gorilla Girls”
and ‘Paradigms and Purposes’.
- Freeland, Cynthia A; But Is It Art? : An Introduction to Art. Copyright © 2001. OUP
Oxford (Appendix 3. p.22-29)

Previewing
1. What is your reading purpose? Depending on your reading purpose, how do you think you

should read the text?

2. What type of a text is it?

3. When was the text published?

4. Who is the author? Do you know anything about her?

5. Do some quick research on the author. Write two things you have found important about her.
Do some quick research on the book. Check the contents page. Do you think the author has the
expertise to write a book on this topic?
6. Preview the text by reading the title, the introduction, early sentences of the paragraphs and

the conclusion. Underline key words and phrases that give clue about the content and main idea

of the text. Compare your ideas with a partner.

7. What can the text be about? What do you expect to read in this text?

Topic of the text:

What I know about this What I expect to read in the What I have learned from
topic text the text

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8. What could be the purpose of the writer?

9. Who do you think the target audience is? Do you think the readers should have background
knowledge about the topic to read and understand the text? Please explain. Do you consider
yourself as the audience of this text?
10. Depending on the purpose and the audience, what could the tone of the author be?
11. How is the text structured?

Analysis, Evaluation and Contextualization

Supporting Opinions Using Evidence: Evaluating Evidence
It is not possible to evaluate opinions when they are stated alone, without supporting explanations.
Such information/explanations/ supports, called evidence, comes in a variety of forms.
More often, evidence includes:

 Personal experience
 Observations
 Research studies
 Statistics
 Citing authorities
 Comparisons and analogies
 Causes and effects
 Facts
 Details about past events or incidents
 Logical explanations

*See appendix _____ for more details

In evaluating the evidence, the focus is not on the opinion itself but on the quality of the support that is
offered. Persuasive evidence demonstrates that the stated opinion is more reasonable than others.
Example:
That exam wasn’t fair because it tested us on the material that we were specifically told we weren’t
responsible for.
Comment:
The evidence, if accurate, is persuasive because teachers have an obligation to keep their word.
Example:
We acted properly in installing surveillance cameras in the employee lounge and restrooms because we
have a right to identify troublemakers in the company.

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Comment:
_____________________________________________________________________________________
_______________________________________________________________________________

Example:
Taking money from my employer’s petty cash fund is not really stealing. My employer pays me less than
the person I replaced. He has also given me more responsibilities. And if I didn’t take that money, I
wouldn’t be able to pay my bills.
Comment:
______________________________________________________________________________
________________________________________________________________________

 Read the text carefully and take notes using the Cornell note-taking system. Share and
compare your notes with your partner. Check what common/different parts you have
considered important.

 Choose one of the main ideas the author discusses in the text. In the first column write in
which of the paragraph(s) you have found the evidence mentioned (could be in more than one
paragraph). In the second column write one example of that evidence use. In the third column
write which idea is supported by the evidence you have mentioned in column 2.

Main Idea: ______________________________________________

Paragraph
number(s) One example you have found How does example you have
mentioned support the main idea?
Citing authorities

Examples / Case

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studies

Historical facts

Facts and
Statistics

Personal
experience/
observation

Research studies

Comparison

Pointing out
consequences /
cause effect
relationship

Explanations

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1. Does the author use adequate and appropriate evidence to support her opinion? Please
explain.

2. Is the evidence reliable, credible, and current?

3. Did the author do her own research or rely on the research of others?

4. Explain whether the use of evidence makes the text reliable or not. Which evidence do
you find the most and the least effective in the text? Why?

5. Choose a paragraph and decide on the essential/ key words used in the paragraph. Do you
know different forms (part of speech) of these words? Give two examples.

6. Highlight 6 words or phrases that might be used in your discipline. Write sentences using
them.

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Online Task 5
Over the past few weeks we have examined and practiced writing more critical ‘open -ended
questions. Your task for this week is to write 3-4 questions based on the article ‘‘Gender, genius
and the Gorilla Girls’ by Cynthia Freedland. ‘.
They need to be questions that require a longer paragraph response/answer. From these
questions, your instructor will choose a number of these question which will then be used in
your quiz in week 8.
When you have created your questions, upload them to Bilgi learn to the forum page- ‘Quiz 1

questions’
*For guidance, see Week 4 material- Interpreting texts critically: Asking Questions

Asynchronous hour - please have a look at the following youtube videos. They will be useful
to give you background on the article ‘Gender, genius and the Gorilla Girls’

Judy Chicago’ Dinner Party (15min)

https://www.youtube.com/watch?v=BvBx7bmzbNU

A dinner party. A Tour of the Exhibition By Judy Chicago (41mins)

https://www.youtube.com/watch?v=9yMtdWxAc60

Georgia O’Keefe a life in Art (15 mins)

https://www.youtube.com/watch?v=UonkqMuOZgM

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WEEK 7 FA/e 179 Notes

Mid-Term Skills Task:

Assignment  Reading Protest Art Assignment (20%)
 Research
 Writing

In the following assignment, you will be expected to use a variety of academic skills that we
have covered so far this semester- reading, note-taking, researching, course related
vocabulary and writing. An important part of this FA/e 179 course is to express your personal
opinion, ideas and relflections. This assignment encourages you to do so, but in an academic
way

Choose one of the artists from the article ‘Greatest Protest Art Examples’. Write about the
artist and his/her work connected to the theme of ‘protest’.

Ai Weiwei
Pyotr Pavlensky
Banksy
Pussy Riot
Guerrilla Girls
Carrie Reichardt
Arab Spring Graffiti
Alex Hartley

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https://www.widewalls.ch/protest-art/

Greatest Protest Art Examples - From

Picasso to Banksy

May 18, 2016

Elena Martinique
A philosophy graduate interested in critical theory, politics and art. Alias of Jelena
Martinović.

What is the scope and impact of protest art? As Adorno famously wrote, ‘all
art is an uncommitted crime’, meaning that art challenges the status quo by
its very nature. Thus it can be argued that all art is political in the sense
that it takes place in a public space and engages with an already existing
ideology and dominant discourse. Yet, art can often become dangerously and
explicitly political and serve as a powerful weapon. Throughout the history
of social movements and social revolt, art has always reacted against
oppression, violence, injustice and inequalities. Addressing socio-political
issues and challenging the traditional boundaries and hierarchies imposed
by those in power, art can open up the space for the marginalized to be seen
and heard and contribute to the social change by producing knowledge
and solidarity or simply raising awareness. In this way, the personal life and
work of the artist transcends the individual and speak meaningfully to a
larger audience bringing together the political and human functions of art.

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“That is so Street Art, Absolutely Beautiful” by Thomas

Von Wittich

Since many variations of protest art can be found throughout the history, it
is difficult to establish the beginning of this politically engaging artistic
expression. Activist conceptual and performance art was majorly
influenced by Dada, an anti-war movement which used satire, non-rational
and anti-idealistic discourse to critique the First World War and its capitalist
agenda. Some of the other early examples of protest art include the Mexican
muralist David Alfaro Siqueiros who has been very active in left-wing
politics in the beginning of the 20th century and wanted to reach hard-
working Mexicans through art. When it comes to fine art, Picasso’s Guernica
(1937) based on the Spanish Civil War and capturing its atrocities and
inhumanity, served as an inspiration for the modern human rights
movement.

War was often a motivating factor for artists, also providing the metaphor
for the more general exercise of power. Many artists during the 1960s and
1970s visibly opposed the Vietnam War including Ronald Haeberle, Peter
Saul, Carl Andre, Norman Carlberg and Nancy Spero and produced artworks
that raised awareness and called for the responsibility. Chris Burden’s
performances with intentional wound inflicting called upon the audience to
engage with political messages and consider their responsibilities. Art
became a potent language to speak against various forms of oppression
and persisting inequalities regarding gender, race or class. As one of the
founding members of the Feminist Art Movement, Judy Chicago explored the
women’s position in culture and history through large collaborative
installations. Art has also shaped the cultural and political response to the

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AIDS pandemics during the 1980s, with artists like Keith Haring, Niki de Saint
Phalle or Robert Mapplethorpe raising their voice.

As Nina Simone said, ‘how can you be an artist and not reflect the times’?
We bring you some of the most influential protest art of our times.

Featured images: Petr Pavlenksy, Segregation, via theguardian.com; Banksy – Can’t Beat

The Feeling, via huffingtonpost.com; Ai Weiwei, Study of Perspective, via 1fmediaproject.net


Ai Weiwei - The Dissident

One of the most famous figures associated with political activism in

contemporary art is certainly Ai Weiwei. Using his art to address the
corruption of Chinese government and their neglect of human rights, but also
other politically touchy issues, Ai Weiwei has become a synonym for
disobedience.

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Be sure to check out an interesting selection of works by

Ai Weiwei!

Some of his most memorable pieces are the Study of Perspective series
where he took photographs of his middle finger sticking it up various
monuments around the world including Tienanmen, the installation
Remembering where he campaigned to bring justice to the victims of the
2008 earthquake in Sichuan, the installation Sunflower Seeds consisted of
100 million porcelain seeds made by 1600 artisans commenting on the mass
production and consumption, and lately a controversial piece addressing the
plight of Syrian immigrants. He has often paid the price for his art, his tongue
in cheek criticism and outspoken attitude, but continues to speak and act for
many. Image via publicdelivery.org


Pyotr Pavlensky - A 'Living Pain' Artist

Often referred to as a ‘living pain’ artist, Petr Pavlensky chooses

performance art that often takes form of extreme acts as his political
language. Some of his stunts involve sewing his mouth shut in political

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protest against the incarceration of Pussy Riot members, wrapping himself

naked in a barbed wire as a commentary on a series of laws suppressing
civic activism and intimidating the population, nailing his scrotum on the
Red Square referring to the apathy, political indifference and fatalism of
Russian society, or cutting of his earlobe in protest against Russia’s use
of forced psychiatry against dissidents. He is now facing three years in prison
for burning doors of the headquarters of Russian Federal Security. Blurring
the boundaries between art and his anti-Kremlin views, he sets himself apart
from other similar artists by making weakness central to his work.
Interesting thing is that he considers the authorities’ reaction in advance and
makes it a part of his performance. If the authorities act as an aggressive
apparatus, then they act according to his scenario.

Image via theguardian.com


Banksy - The Guerilla Street Artist

A legendary and globally famous guerilla street artist, Banksy has been
throwing his politically pointed, satirical, clever and often funny pieces all

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around the world. Using art as a deadly political weapon, his works always
interact with global politics and global issues. He once characterized
graffiti as a form of underclass ‘revenge’ that allows an individual to take
over the power, territory and glory from the privileged. He has dealt with
various political and social themes such as anti-war, anti-consumerism,
anti-fascism, anti-imperialism, anti-authoritarianism or anarchism.

Banksy has recently created a series of works across Palestinian ruins in the
Gaza strip, as well as in Syria. He has also done a series of murals in Calais
refugee camp making a clear statement regarding the refugee crisis and
the treatment of refugees. Another recent politically charged project was a
subversive and dark theme park Dismaland packed with irony, satire and
honesty, that was later dismantled and sent to Calais to be used as a shelter
for refugees.

Image via lifegate.com


Pussy Riot - A Provocative Punk Rock Protest Band

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A Russian feminist punk rock group that has staged numerous unauthorized
provocative guerrilla performances in various public locations, Pussy Riot
has shook the world in 2012 with their protest performance in Moscow’s
Cathedral of Christ the Savior directed at Orthodox Church’s support for
Vladimir Putin. They have dealt with various politically charged themes
such as feminism, LGBT rights, democracy, freedom of speech and
opposition to Vladimir Putin. The Pussy Riot trial after their ‘punk prayer’ and
a jail sentence for their members presented an even more obscene
performance of state power and became a symbol of the battle against
Putin’s oppressive regime. Their political action through performance art is
an example of how the power of the state and authoritarian policies can
often produce some of the most provocative art practices.

Image via critical-theory.com


Guerrilla Girls - The Feminist Masked Avengers

Wearing gorilla masks and miniskirts and sporting pseudonyms of deceased

lady artists like Frida Kahlo, Kathe Kollwitz, and Alma Thomas, the feminist

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art collective Guerrilla Girls started shaking the art world over 30 years ago.
Formed in New York in 1985 with the mission to bring into focus gender and
racial inequalities in the fine arts, their legacy is marked by various forms
of protest artworks and flagrant acts of misogyny shaming. Through stickers,
posters, billboards, dialogues, debates and ‘weenie counts’, they have
pointed out the hypocrisy of the art world traditions and institutions and
their prevalent sexism and racism. Expressing their ideals and opinions
regarding the variety of social topics, their works, mainly posters, are a
combination of humorous images, outrageous visuals and statistics. The art
collective is still very active, and they have expanded their practice to
criticize politicians as well, especially conservative Republicans.

Image via ggtakeover.com


Carrie Reichardt - A Figure of the Craftivism Movement

Famous for her continuing work in activism, an artist Carrie Reichardt takes
interest in the social, economic and political issues that range from
unjust imprisonment and death penalty to new colonial wars. A figurehead of

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the Craftivism movement that joins craft and activism, she feels that voicing
opinions through creativity makes your voice stronger. An essentially anti-
industrial art movement that first appeared in the 1960s, it combined
crafts as a field perceived as ‘women’s hobbies’ with Western feminist theory
and practice. Being involved in community and public art projects for over 15
years, she uses murals, mosaic and screen-printing to create intricate,
highly politicized works of art. After communicating extensively with
political prisoners, she has fought for convicts on death row throughout
her life influencing her art greatly. Some of her latest pieces include The
Milan Elephant Parade inspired by the revolutionary spirit spreading across
the world and conveying messages about the end of capitalism as the only
answer, and Mary Bamber, a life-sized ceramic-adorned figure of this famed
revolutionary socialist.

Image via mosaicartnow.com


Arab Spring Graffiti

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Despite not being a coherent art movement, some of the most immediate,
insightful and human art seen for some time has been produced during the
Arab Spring in 2011 when protesters armed with spray cans articulated
their interpretations of the uprising on the walls around them. Not that
present and common in the Arab world before the uprising, graffiti became a
tool for providing social and political meaning. Filled with vibrant political
and social commentary, the streets became canvases for artists to show
their revolt, to remember people who have been lost and communicate
directly to the oppressors. Ranging from writings to drawings and varying in
techniques used, graffiti were the only public means for sending a
message. Realizing the power and danger behind these artistic expressions
confronting censorship and oppression, the government soon started
whitewashing them only to trigger more artists to come back. The Arab
Spring has launched careers of many artists such as el Seed, Zoo-Project,
Ganzeer, El Teneen, Aya Tarek, Alaa Awad or Ammar Abo Bakr, and has been
a subject of numerous curated exhibitions.

Featured image: A graffiti in Egypt, via businessinsider.com

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
Alex Hartley and Nowhereisland

Nowhereislad is an art project by an artist Alex Hartley that involved the

discovery of an island originating from the Arctic. The island was taken into
International Water and declared a new nation. Towed around the South
West England during the 2012 Olympic Games, it ended its journey broken
up into pieces and divided among 23,003 people from 135 countries who
became its citizens. A small rock was even sent to the edge of space. The
narrative of the artwork was simple – it portrayed the journey of an island as
a migrant nation during the Olympics. The artwork as a symbol of a
displaced nation in search of its people was a provocative and ambitious
project challenging our assumptions about the fixity of landscape. This piece
of alien land squatting in British waters presented a promise of utopia with
profound social, political and economic implications within the context of
London 2012.

Image via nowhereisland.com

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Writing Assignment 1 Protest Artist (20%)

Now, that you have chosen one of the protest artists above, it is time for deeper research.
Examine related websites for articles, interviews, youtube videos etc.; and take notes about
items you want to mention in your paper. You will be expected to have quotes from the artists
or other commentators in your paper. Your paper should be colourful, highlighting some of the
main works from the artist. So, choose a few of the artist’s work that you are particularly
interested in to comment and give your opinion and reflections on.

This paper is a ‘Turnitin assignment’. Thus, it needs to be in your own words.

Your paper should include the following –(in your own words)
 Some basic details on who the artist is ( Name, country etc.)
 3-4 examples of the artists protest work (photos/lyrics etc.)
 Descriptions of the artist’s work in the photos you have chosen (style,
techniques, methods, colours, activities etc.)
 A critique of some of the highlighted work (using vocabulary from the Art/e 179
Booklet-Appendix section)
 Your detailed opinion and personal reflection on the artist’s work
 What difficulties did the artists face?
 Your opinion on how successful the artist was
(at least 500 words)

*Due date: 11th of December

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Online Task 6 - Reflection

“What I have learned so far…” Online forum. This task allows you to comment on and discuss
the skills we covered in the first half of this semester. Go through the FA/e179 booklet- from
the syllabus to week 7. Things to reflect on-

 The skills you believe you have learnt well

 The skills or things that you still haven’t really learnt or processed
 The things you believe have been useful
 The lessons you have enjoyed-not enjoyed
 The tasks, homework, assignments etc.
 The online format of the lessons
 Your motivations/demotivations

Go to bilgi learn ‘Discussion -forum’ ‘Midterm reflection’. Please share your ideas and comment
on the threads.

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FA/E 179 2023-2024 Fall Name:

Reading Quiz Date:
Grade:

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Week 8 Nov 18- Dec 26

Mid-Term Week

Do great!

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Summarizing skills for academic study WEEK 9

This week, we will focus on the important academic skill of writing a summary. Firstly, we will
look at what an effective summary contains, and look at a good example of a summary. Then
we will practice writing a summary using a newspaper article. Note: then you will do the
summary quiz in Week 9 (10%)

Watch the video on “how to write an effective summary” and take notes to complete
the list below. Here is the link: https://www.youtube.com/watch?v=eGWO1ldEhtQ

A summary should be:

-
-
-
-
-
-
-

What is a summary?

A summary is an overview of a text. The main idea is given, but details, examples and formalities are left
out. Used with longer texts, the main aim of summarizing is to reduce or condense a text to its most
important ideas.

Summarizing is a useful skill for making notes from readings and in lectures, writing an abstract
/synopsis and incorporating material in assignments.

When to Summarize?

Summarize long sections of work, like a long paragraph, page or chapter. You can summarize:
- to outline the main points of someone else’s work in your own words, without the details or
examples.
- to include an author's ideas using fewer words than the original text.
- to briefly give examples of several differing points of view on a topic.
- to support claims in, or provide evidence for your writing.

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How to do it:

The amount of detail you include in a summary will vary according to the length of the original text, how
much information you need and how selective you are:

• Start by reading a short text and highlighting the main points as you read.
• Reread the text and make notes of the main points, leaving out examples, evidence etc.
• Without the text, rewrite your notes in your own words; restate the main idea at the beginning plus all
major points.

Now let’s look at a summary of an article.

In the article "Why Doesn't GM Sell Crack?" Michael Moore argues that companies need to be regulated.
Regulation prevents companies from hurting the community or environment. However, the author
explains that many people believe companies should have the right to do whatever will make the most
money. Moore disagrees with this philosophy however. He gives the example of selling heroin. If
companies did this it would be very profitable but bad for the consumers and community. This example
shows how the government does need to make some laws to restrict companies and protect society.
Moore points out that most Americans agree that a company should not be able to sell heroin just to
make a profit. Therefore, he argues, we might extend this reasoning to other harmful actions, such as
polluting the environment or treating workers unfairly. Moore concludes that companies should be
restricted from committing actions that hurt society and offers five suggestions on how the public
should be protected from the accesses of corporation power.. (Adapted from Las Positas College website
http://www.laspositascollege.edu/raw/Summaries.php)

Based on this example, what kind of structure do you think a summary has?

*See the full Michael Moore Essay in Appendix__

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The following article is taken from -

https://www.theguardian.com/commentisfree/2015/jan/06/children-
towns-and-cities-robbed-spaces-play

Children in our towns and cities are

being robbed of safe spaces to play
George Monbiot

We’re plagued by joyless developments that destroy the essence of

community: chances for young people to gather and play

'Grass is confined to coffin-like gardens in which you can’t turn a cartwheel without
hitting the fence.' Illustration: Andrzej Krause
Tue 6 Jan 2015

Where do the children play? Where can they run around

unsupervised? On most of the housing estates I visit, the answer is
hardly anywhere.

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A community not built around children is no community at all. A

place that functions socially is one in which they are drawn to play
outdoors.

As Jay Griffiths argues in her heartrending book Kith, children fill

the “unoccupied territories”, the spaces not controlled by tidy-
minded adults, “the commons of mud, moss, roots and grass”. But
such places are being purged from the land and their lives.
“Today’s children are enclosed in school and home, enclosed in
cars to shuttle between them, enclosed by fear, by surveillance and
poverty and enclosed in rigid schedules of time.” Since the 1970s
the area in which children roam without adults has decreased by
almost 90%. “Childhood is losing its commons.”

Given all that we know about the physical and psychological

impacts of this confinement, you would expect the authorities to
ensure that the remaining 10% of their diminished range is
designed to draw children out of their homes. Yet almost
everywhere they are designed out. Housing estates are built on the
playing fields and rough patches children used to inhabit, and offer
almost nothing in return.
In the government’s masterplan for England, the national planning
policy framework, children are mentioned only twice: in
a catalogue of housing types. In parliament’s review of these plans,
they aren’t mentioned at all. Young people, around whom our lives
should revolve, have been airbrushed from the planning system.
I spent Monday wandering around the new and newish housing
developments on the east side of Northampton. I chose this area
because the estates here are spacious and mostly built for families:
in other words, there is no possible excuse for excluding young
people.

In the places built 10 or 20 years ago, there is plenty of shared

space, but almost all of it is allocated to cars. (You can see the
photos on my website.) Grass is confined to the roundabouts or to
coffin-like gardens, in which you can’t turn a cartwheel without
hitting the fence. I came across one exception – a street with wide
grass verges. But they sloped towards the road: dangerous and
useless, a perfect waste of space.
This land of missed opportunities, designed by people without a
spark of joy in their hearts, reifies the idea that there is no such

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thing as society. Had you set out to ensure that children were
neither seen nor heard, you could not have done a better job. On
the last day of the holidays, which was warm and dry, across four
estates I saw only one child.

By comparison, the Cherry Orchard estate just completed by

Bellway Homes is a children’s paradise. But only by comparison.
Next to the primary school, with plenty of three- and four-bedroom
houses, it is designed to appeal to young families. But in the middle
of the development, where a village green might have been, there’s
a strange grassy sump, surrounded by a low fence. It’s an
empty balancing pond, to catch water during exceptional floods.
Remove the fence, plant it with trees, throw in some rocks and logs,
and you’d have a rough and mossy playground. But no such thing
was in the plans.
Other shared spaces on the estate have the charming ambience of a
prison yard: paved and surrounded by garden fences almost nine
feet high. There were a few children outdoors but they seemed
pressed to the edges, sitting in doorways or leaning on
fences. Children don’t buy houses, so who cares?
Throughout the country, they become prisoners of bad design,
and so do adults. Without safe and engaging places in which they
can come together, no tribe forms. So parents must play the games
that children would otherwise play among themselves, and
everyone is bored to tears.
The exclusion of children arises from the same pathology that
denies us decent housing. In the name of market freedom, the
volume housebuilders, sitting on their land banks, are free to
preside over speculative chaos, while we are free to buy dog
kennels priced like palaces in placeless estates so badly designed
that community is dead on arrival. Many want to design and build
their own homes, but almost no plots are available, as the big
builders have seized them.

In Scotland the government is considering compulsory sale orders,

which would pull down prices – essential when the speculative
price of land has risen from 2% of the cost of a home in the 1930s
to 70% today. A national housing land corporation would assemble
the sites and supply the infrastructure, then sell plots to community
groups, housing associations and people who want to build their
own.

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It goes far beyond England’s feeble community right-to-build

measures, which lack the muscular facilitation that only
public authorities can provide. But it’s still not far enough.
What if people were entitled to buy an option for a plot on a new
estate, which they would then help to plan? Not just the houses, but
the entire estate would be built for and by those who would live
there. The council or land corporation would specify the number
and type of homes, then the future residents – including people on
the social housing waiting list – would design the layout. Their
children would help to create the public
spaces. Communities would start to form even before people moved
in, and the estates would doubtless look nothing like those built
today.
To the Westminster government, this probably sounds like
communism. But as countries elsewhere in Europe have found, we
don’t need volume house builders, except to construct high-rises.
They do not assist the provision of decent, affordable homes. They
impede it. What is good for them is bad for us.

Bellway, its brochure reveals, asked children at the neighbouring

primary school to paint a picture of a cherry orchard, and displayed
the winning entries in its show home. “Why not pop over to say
hello, view our wonderful development and sneak a peek?”, it asks.
That’s the role the children were given: helping the company to sell
the houses it had already built.
Why can’t we shape the places that shape our lives?

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Plenty of space for cars …

In the places built 10 or 20 years ago, there’s plenty of shared space, but
almost all of it is allocated to cars.

… but almost nothing for children

A perfect waste of space

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Still car mad

A balancing pond that could be so much more

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Garden fences almost 9ft high

And the charming ambience of a prison yard

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1. When was the article published?

2. Who is the publisher?
3. Who is the author?
4. What is the main argument – thesis - discussed in the article?
5. List the main points discussed to support the main argument. What are the supporting ideas
and evidence used?

Thesis:

Main point Supporting Idea / Evidence

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Summary practice
Now write your summary of the George Monbiot article. Use the summary template and your
notes above to help you.
When you have finished your summary, complete the ‘rubric/checklist’.

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__________________________________________________________________________________

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Rubric and checklist

Summary Checklist YES  NO 

Does the summary start by stating the full

source? (name, publication and date)

Does the summary attribute to the author/text

throughout the summary?

remember to use a variety of reporting verbs

Does the summary contain the key ideas in the

original?

Is the summary short and concise?

Does the summary maintain objectivity

throughout?

Is the summary in your own words?

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Is the summary comprehensible / clear for a

reader unfamiliar with the original text?

Is the summary well-organized?

Does the summary use a variety of reporting

verbs?

Is the summary accurate? (spellings / grammar /

vocabulary)

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Online Task 7 - Evaluating Summary

This week, your task is to look at a number of sample student summaries. Read through the
summaries and grade them acording to the summary rubric/checklist.

-Go to Weekly content on Bilgi learn- Online task- ‘Evaluating summary’

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Summary Quiz Assignment (10%) WEEK 10

Go to the link- https://www.arch2o.com/design-studio-architecture-covid/ (or Appendix 3. p.33)
Read and take notes. Using your notes, write your summary of the article entitled ‘Design studio and
architecture in the age of Covid-19’.
When you have finished your summary, complete the ‘rubric/checklist’ and upload your summary to
Bilgi learn- ‘Quiz 2 Summary’

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Rubric and checklist

Summary Checklist YES  NO 

Does the summary start by stating the full

source? (name, publication and date)

Does the summary attribute to the author/text

throughout the summary?

remember to use a variety of reporting verbs

Does the summary contain the key ideas in the

original?

Is the summary short and concise?

Does the summary maintain objectivity

throughout?

Is the summary in your own words?

Is the summary comprehensible / clear for a

reader unfamiliar with the original text?

Is the summary well-organized?

Does the summary use a variety of reporting

verbs?

Is the summary accurate? (spellings / grammar /

vocabulary)

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Writing a Response Paper WEEK 11-14

Over the next few weeks, we will be focusing on our final assignment- Writing a Response
Paper. This is an extended assignment which allows you to use all of the academic skills we
have examined and practiced over the whole Fall semester- critical reading skills and
strategies, contextualizing texts, note-taking skills, research skills, opinion and academic
writing.

This material shows you guidelines on how to write an effective academic response paper-
what should be included in the paper and how it should be structured and organized. This is a
‘process’ writing paper, where you will write your first draft and receive feedback from your
instructor before proceeding to write your final draft.

A response paper is your chance to communicate in writing your personal viewpoint and
personal learning as they relate specifically to the book, essay, paper, article, etc. and the ideas
and values discussed.

In a response paper, writers respond to one or more texts they have read. In the social sciences
and humanities, such papers require students to understand each text individually and evaluate
how well each accomplishes its own objectives.

 If you are responding to multiple texts, you must also discover how the texts relate to
one another.

 If responding to just one text, you might need to situate it within the larger context of
class discussions, readings, etc., depending on the prompt.

A response paper may include a discussion of interesting questions that the readings raise for
the student, but such a discussion is not sufficient by itself.

Writing good response papers is more demanding than it might appear at first. It is not simply a
matter of reading the text, understanding it, and expressing an opinion about it. You must allow
yourself enough time to be clear about what each text says and how the texts all relate to one
another. In other words, response papers require you to synthesize the intellectual work of
others—that is, bring it together into an integrated whole. In preparing to write response

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papers, therefore, it is crucial that you allow yourself not just enough time to do the readings
but enough to digest what you have read and to put the results together into a unified account.

A response paper is not intended to be a comprehension test, a book review, (i.e. "I really
enjoyed the...) or a repeating the content or story (i.e. this happened, and then that
happened"). Your reader is familiar with the book/article, and is interested in discerning how
deeply you have thought about the concepts, values, belief systems and attitudes that exist at
the heart of the work.

Writing a Response Paper involves,

 Critical Reading
Identifying the ideas, organization, and purpose of the text

 Critical Thinking
Analyzing and evaluating the text and ideas,
 Reacting in Writing
Summarizing the text’s key ideas
Stating your opinion about a particular part of the text
Supporting your opinion with appropriate details, quotations, and explanations.

You are expected to be an active reader and to create meaning from the text. While and after
reading the text consider the questions below:

Consider texts individually:

 What is the main problem or issue that the author is addressing?

 What is the author’s central claim, argument, or point?
 What assumptions does the author make?
 What evidence does the author present?
 What are the strengths and weaknesses of the text?
 What are possible counterarguments to the text’s claims?

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 Why are the problem(s) and the argument(s) interesting or important?

Consider texts collectively:

 How do they relate to one another?

 Do the authors agree or disagree with each other?
 Do they address different aspects of an issue?
 Do they formulate a problem in different ways?
 In what way (if any) does the information or argument of one text strengthen or weaken the
argument of others? Does integrating the claims in two or more of the texts advance your
understanding of a larger issue?

You should formulate a claim—a specific and arguable response to the aspect of the text that
you are responding to. DO NOT simply summarize the text. You will briefly summarize the
article to familiarize your reader with the ideas you are discussing, but the focus of a response
paper is your argument. Be sure to organize your thoughts in a logical manner and to include
quoted evidence from the text to support the claim you make.

It is important to:

 Clearly and concisely express your ideas and arguments by using focused topic
sentences as well as good transitions between ideas.
 If you make an argument, support it well. Opinions should be supported by facts or
logical reasoning.
 Show that you understand the material by using examples, facts, etc. from the readings
and lectures.
 Make connections between lectures, readings, and discussions.
 Feel free to include your own experiences or anecdotes as long as they are clearly
related to help illustrate why a particular reading, or a discussion, makes you feel a
certain way.

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Preparing for writing

The following statements could be used in a reaction/response paper. Complete as many statements as
possible, from the list below, about what you just read.

My Reaction to What I Just Read Is That . . .

I think that ______________________________________________________________
I see that ________________________________________________________________
I feel that _______________________________________________________________
It seems that _____________________________________________________________
In my opinion, ___________________________________________________________
Because ________________________________________________________________
A good quote from the text is _______________________________________________
For example, ____________________________________________________________
Moreover, _______________________________________________________________
However, _______________________________________________________________
Consequently, ____________________________________________________________
Finally, _________________________________________________________________
My conclusion about the text(s), _____________________________________________

What you've done in completing these statements is written a very rough collection of ideas that you
can include in your reaction/response paper. Now it needs to be organized.

Components of a Response Paper

Typically, response papers are brief (2-3 double spaced pages), opinionated, have a clear focus, and,
most importantly, show that the student has learned something from the lecture and/or course

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readings. The goal of this type of writing is to respond to the prompt (if provided) and demonstrate what
you have taken away from the readings/lectures by using critical thinking and analysis.

Introduction

It contains all the basic information about the text(s). The introduction includes

 An opening sentence that informs the reader about the text that you will respond to: give the
title, author, and publication you read and mention the general topic of the text.

 A very brief summary of the text – the main arguments that the author discusses.

 A thesis statement – write what you agree, disagree, identify, or evaluate.

Sentence 1: Summary’s opening sentence

E.g. Jack Milton, in his article “Music is the Key”, states that music is a powerful tool in raising
public awareness of social issues.

Sentence 2 – 4 (number of sentences depends on length of the original text)

Summary of the article (brief and accurate)

Last sentence: Your thesis statement, which expresses agreement, partial agreement,
disagreement, or evaluates the text.

Body Paragraphs

YOUR REFLECTION - How do you react to the piece on a personal level? How does the piece
relate to your experience?

Share your own ideas, impressions and your own experiences with readers.

Your reflection paragraphs

- Start with a topic sentence (=supporting idea 1 /2/3) to explain the opinion you expressed in
your thesis.
- Contain a clear topic and controlling idea
- Clearly relate to the thesis statement
- Include sufficient details/examples/quotes from the text to explain your point

Conclusion

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The conclusion can be a restatement of what you said in your paper. It also can be a comment which
focuses your overall reaction. Finally, it can be a prediction of the effects of what you're reacting to.
Your conclusion should include no new information.

The Dos and Don'ts of Response Papers:

DO NOT DO

 Only summarize the text  Analyse the significant ideas in the

text and show how the author
 Say that you liked or didn’t like the
supports these ideas.
author/text/ideas (e.g. I didn’t like the
examples that the author has given.)  Use specific examples, quotations
from the text to support your own
 Generalize and state unclear ideas
argument that you state in your thesis
 Make superficial summaries (e.g. The statement.
text titled “Global Marketing Trends”
 Think deeply and look closely into the
is about the marketing trends in the
text. Try to notice something that
world.)
others may not.
 Simply repeat what the instructor or
 Build on ideas mentioned in class
other students say in class.
adding your thoughts and insights to
the discussion.

Adapted from https://twp.duke.edu/uploads/assets/response%20paper.pdf

http://leo.stcloudstate.edu/acadwrite/reaction.html
http://writing.colostate.edu/guides/teaching/e238/rpex.cfm
http://www.uvm.edu/wid/writingcenter/tutortips/envsreflect.html
https://www.sonoma.edu/users/v/vazquez/ResponsePaper.html
http://www3.spfldcol.edu/homepage/dept.nsf/9fd80471db04a6c885256f4200656df5/$file/writing%20reaction%20papers.pdf
https://twp.duke.edu/uploads/assets/response%20paper.pdf

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Writing Assignment II Response Paper 30%

Your response paper will be on the topic ““Architecture and design & Social Issues: What is the
power / role of architects and designers in raising public awareness and bringing about social
change?”
Before you start writing your paper, you need to analyze the topic well. In order to do so, you
will be provided with a variety of audio, visual and written texts. Below is a list of texts and TED
talks that will help you plan and write your response paper. However, it is expected that you
will also find your own sources. Preview, analyze, evaluate and contextualize the texts critically.
Take notes. Do not forget to “talk back to the author”. We will also have in-class and online
discussions to learn about different viewpoints on the topic.

You will write your 1st draft in class, get oral and written feedback afterwards. You will also
evaluate your paper by using the rubric. Then, you will have a chance to revise your paper
before you submit your final draft. Your final paper will be formatted and uploaded to Turnitin
and Bilgi Learn.

Reading Texts for the Response paper

Text 1. Socially Responsible Architecture: Design for a Better World - Chris Taylor
https://hmcarchitects.com/news/socially-responsible-architecture-design-for-a-better-world-2019-03-06/

Text 2. Innovative Low Income Housing Materials That Might Save The World -ARCH20
https://www.arch2o.com/7-innovative-low-income-housing-materials-that-might-save-the-
world/

Text 3. Design Studio and architecture in the Age of Covid-19 (ARCH20)

https://www.arch2o.com/design-studio-architecture-covid/

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Text 4. Social Architecture: A New Approach To Designing Social Spaces - Claudia Gatsby
https://www.huffpost.com/entry/social-architecture-a-new_b_5448130

*Text 5. WHAT IS SUSTAINABLE DESIGN? Women in Green: Voices of Sustainable Design;

2007 Gould, Kira. Hosey, Lance
http://www.archnewsnow.com/features/Feature241.htm
https://www.architectmagazine.com/practice/women-in-green-a-decade-later_o

Listening. How architecture/design creates social change in 6 TED Talks

1. Architecture is in Crisis and sustainable design - Nicolas Duval (Dec 22, 2015)
https://www.youtube.com/watch?v=K2EXsoiZ-To

2. Justice by Design - Antionette Carroll (June 16, 2017)

https://www.youtube.com/watch?v=SFmeD3P8YKQ

3. Green buildings are more than brick and mortar - Bryn Davidson (Nov 27, 2014)
https://www.youtube.com/watch?v=JEUShQ7r_tE

4. Cubicles don't work. How architectural design affects your brain - Scott Wyatt (Jan 10,
2017) https://www.youtube.com/watch?v=lFkJCpD0_V0
5. Architecture and the Science of the Senses - Stefan Behling (Jun 30, 2016)
https://www.youtube.com/watch?v=FbfPWalO_ss

6. Architect's hands: how can we design better streets - Evelina Ozola (Aug 14, 2015)
https://www.youtube.com/watch?v=8iQnrM3DkVI

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Response Paper – 1st draft

“Architecture and design & Social Issues: What is the power / role of architect and designers
in raising public awareness and bringing about social change?”
Respond to the idea(s) discussed in the text(s) you have read critically.
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Online Task 8 - Listening note-taking (Week 10/11)

We have already looked at one example of a TED talk related to your response paper. Now
listen and take notes on the other TED talks from the list. (use the subtitles option).
The TED talks aim to give ideas and themes for you to use in your body paragraphs. Take notes
on different type of supporting evidence used (see week 5/6 )
 Personal experience
 Observations
 Research studies
 Statistics
 Citing authorities
 Comparisons and analogies
 Causes and effects
 Facts
 Details about past events or incidents
 Logical explanations

Important. Note down comments/opinions from the speaker that you would like to use as a
citation to support (or oppose) your own opinions.

Online Task 9 - Evaluating Response Papers (Week 12)

This week, your task is to look at a number of sample student response papers. Read through
the summaries and grade them acording to the Response paper rubric. This will help yougive
you a better understanding of your own paper.

-Go to Weekly content on Bilgi learn- Online task 9- ‘Evaluating Response Papers’

Online Task 10 – Reflection (Week 13)

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“What I learned from this course…” Online forum. This task allows you to comment on and
discuss the skills we covered during the fall semester. Go through the FA/e179 booklet- from
the syllabus to week 14. Things to reflect on-

 The skills you believe you have learnt well

 The skills or things that you still haven’t really learnt or processed
 The things you believe have been useful for your academic life
 The lessons you have enjoyed-not enjoyed
 The main assignments (Protest Artist/Response Paper)
 The quizzes and online tasks
 The online format of the lessons
 Your motivations/demotivations

Go to bilgi learn ‘Discussion -forum’ ‘Course Reflection’. Please share your ideas and comment
on the threads.

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Appendices
1. Rubric and checklists……………………………………………..….….….... p. 102-112

2. Weekly materials -Week 2 Types of reading…………………………..… p. 113

-Week 5/6 Cornell note-taking templates……………. p. 114-115

- Supporting Opinions Using Evidence……………..... p. 116-117

3. Course related articles -Week 4 C, Freeland ‘But is it Art?’ excerpt….p. 118-121

-Week 5/6 C, Freelend ‘But is it art? Ch 5 …. p. 122-131

-Week 8 ‘Summary’. M, Moore article……....p. 132-134

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-Week 10 ‘Architecture and design studio-covid19. p.135-139

4. Architecture & Design related vocabulary…………….……….....….…… p. 140-151

5. Blooms Taxonomy……………………………………………………......…… p. 152

Appendix 1 FA/e 179 Rubrics/checklists

Participation Rubric FA/E 179

Student
5 3 1 Score

Positive Satisfactory Negative

General  Student is  Student is not
attitude sometimes on task on task
 Always on task  Displays a generally  Displays a
 Always involved cooperative working negative
attitude. attitude.

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Personal  brings necessary  sometimes brings

managemen materials to class necessary materials  does not have the
t (books ,paper, pencil), to class necessary
organization  good understanding of  partial understanding materials for class,
course content and of course content  Little or no
requirements and requirements understanding of
 keeps up with course  Does not always course content and
developments (via keep up with what’s requirements
online pages/ teacher/ happening on the  does not keep up
student) course with course
 Informs teacher of any  May inform teacher developments
changes of changes  No communication
(personal/academic) with teacher

Oral  Shows respect when  Little/no regard for

involvement others talk  Shows respect when others when they
 Speaks about ideas and others talk are talking
asks questions  Shows some effort in  No effort in any
appropriate for the spoken production or spoken production
context in English interaction in English or interaction in
English.

Punctuality  Always in class on time  Generally in class on

time  Usually late

FA/e 179 Instructor: Rod McKee

2023-2024
İSTANBUL BİLGİ Response Paper self- Week 10-14
UNIVERSITY Checklist

Area Description of criteria points

Format:  The essay is formatted correctly (11/12 pt type, Arial,Times

New Roman, 1.5 spaced. Name, date, draft, word count). __/ 10

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Organization: Introduction:
 The introduction clearly introduces the topic and gives the ___/ 5
reader sufficient background information on the topic.

 There is a clear thesis statement that tells the reader what ___/ 5
he/she will learn in the essay.

Body:
 Each paragraph only discusses one point and has a clear topic. ___/ 5

 Each body states his/her opinions/reflections clearly ___/ 5

 Each paragraph supports his/her opinions with a variety of

supporting ideas/evidence/ material (facts, examples, ___/ 30
statistics, quotations, explanations, etc.) -Sourced correctly.

 Each paragraph has unity (no off-topic sentences). ___/ 5

 Each paragraph has coherence (flow: uses a variety of
transition words and phrases, logical order). ___/ 10

Conclusion:
 The conclusion summarizes the main points and leaves the ____/ 5
reader with the writer’s final thoughts on the topic.

Content:  The response paper fulfills the requirements of the assignment

and shows that the writer used care and thought. ___/ 10

Language:  The language in the essay is clear and and grammar errors do ___/ 10
not inhibit readability.

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Grading Rubric - Response Paper

Area Description of criteria points

Format:  The essay is formatted correctly (11/12 pt type, Arial,Times

New Roman, 1.5 spaced. Name, date, draft, word count). ___/ 10

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Organization: Introduction:
 The introduction clearly introduces the topic and gives the ___/ 5
reader sufficient background information on the topic.
_
 There is a clear thesis statement that tells the reader what
he/she will learn in the essay.
__/ 5

Body:
 Each paragraph only discusses one point and has a clear topic. ___/ 5

 Each body states his/her opinions/reflections clearly ___/ 5

 Each paragraph supports his/her opinions with a variety of

supporting ideas/evidence/ material (facts, examples, ___/ 30
statistics, quotations, explanations, etc.) -Sourced correctly.

 Each paragraph has unity (no off-topic sentences).

___/ 5
 Each paragraph has coherence (flow: uses a variety of
transition words and phrases, logical order). ___/ 10

Conclusion:
 The conclusion summarizes the main points and leaves the ____/ 5
reader with the writer’s final thoughts on the topic.

Content:  The response paper fulfills the requirements of the assignment

and shows that the writer used care and thought. ___/ 10

Language:  The language in the essay is clear and and grammar errors do ___/ 10
not inhibit readability.

Grading Rubric -Protest Artist Assignment

Area Description of criteria points

Format:  The essay is formatted correctly (11/12 pt type, Arial, Times

New Roman, 1.5 spaced. Name, date, word count) ___/ 10

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Organization: Introduction:
 The introduction clearly introduces the protest artist and gives ___/ 5
the reader sufficient background information on the topic.

 There is a clear thesis statement that tells the reader what

he/she will learn in the essay.
___/ 5

Body:
 Each paragraph only discusses one point and has a clear topic. ___/ 5

 Each body states his/her opinions/reflections on the artist and ___/ 5

his/her/their work

 The paragrahs are descriptive of the the artists work, using the
target vocabulary ___/ 10
 Each paragraph supports his/her opinions with a variety of
supporting ideas/evidence/ material (facts, examples,
statistics, quotations, explanations, etc.) -Sourced correctly
___/ 20
 Each paragraph has unity and coherence (flow: uses a variety
of transition words and phrases, logical order).
___/ 5
Conclusion:
 The conclusion summarizes the main points and leaves the
reader with the writer’s final thoughts on the topic.
___/ 10
Reference:
 The paper includes a reference section at the end
____/ 5

Content:  The response paper fulfills the requirements of the assignment ____/ 5
and shows that the writer used care and thought.
 The paper includes photos/images of the artist and their work ____/ 5

Language:  The language in the essay is clear and and grammar errors do ___/ 10
not inhibit readability.

Assignment 1 – Protest Artist (20%)

Now, you have chosen the one of the protest artists above, it is time for deeper research.

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Examine related websites for articles, interviews, youtube videos etc.; and take notes about
items you want to mention in your paper. You will be expected to have quotes from the artists
of other commentators in your paper. Your paper should be colourful, highlighting some of the
main works from the artist. So, choose a few of the artists work that you are particularly
interested in to comment and give your opinion and reflections on.

This paper is a ‘Turnitin assignment’. Thus, it needs to be in your own words.

Your paper should include the following –(in your own words)
 Some basic details on who the artist is ( Name, country etc.)
 3-4 examples of the artists protest work (photos/lyrics etc.)
 Descriptions of the artist’s work in the photos you have chosen (style,
techniques, methods, colours, activities etc.)
 A critique of some of the highlighted work (using vocabulary from the Art179
Booklet-Appendix section)
 Your detailed opinion and personal reflection on the artist’s work
 What difficulties did the artists face?
 Your opinion on how successful the artist was
 Reference/sources section (at the end)

FA/e 179 Instructor: Rod McKee

2023-2024
İSTANBUL BİLGİ Writing Assignment Rubric Week____
UNIVERSITY

Essay marking criteria

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Area Description of criteria Points

(maximum 5)

Format:  The paper is formatted correctly (11/12 pt type, Arial,Times

New Roman, 1.5 spaced. Name, date, draft, word count). _____

Organization: Introduction:
 The introduction clearly introduces the topic and gives the
reader sufficient background information on the topic. _____

 There is a clear thesis statement/topicsentence that tells the _____

reader what he will learn in the paper.

Body:
 Each paragraph only discusses one point and has a clear topic. _____

 Each paragraph has supporting material (facts, examples,

statistics, quotations, explanations, etc.) Sourced correctly. _____

 Each paragraph has unity (no off-topic sentences). _____

 Each paragraph has coherence (flow: transitions, logical

order). _____

Conclusion:
 The conclusion summarizes the main points and leaves the
reader with the writer’s final thoughts on the topic. _____

Content:  The response fulfills the requirements of the assignment and _____
shows that the writer used care and thought.

Language:  The language in the essay is clear and and grammar errors do _____
not inhibit readability.

Scoring TOTAL: 50(x2)

5 = Excellent (criteria exceeds requirements)
4 = Good (criteria successfully fulfilled)
3 = Satisfactory (criteria fulfilled)
2 = Unsatisfactory (criteria rarely fulfilled)
1 = Unacceptable (criteria barely fulfilled)
O = Not sumbmitted

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General Online Task writing Rubric

FA/E 179

Student
5 3 1 Score

Excellent Satisfactory Poor

Format The paper is formatted The student has The student has not
correctly- (11/12 pt fulfilled some of the fulfilled the format
type, Arial,Times New format criteria. criteria.
Roman, 1.5 spaced.

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Name, date, class.

Content The student has not

fully answered the
question. Has some
The student has
details and
The student has fully failed to answer the
supporting evidence
answered the question question no details
but lacks examples
with details and and supporting
and clear
supporting evidence evidence or relevant
explanation.
and relevant examples examples and clear
and clear explanation. explanation.

Language The language in the

essay is generally
The language in the clear, but has
The language in the
essay is clear and significant grammar
essay is unclear
grammar errors do not errors though they do
with many grammar
inhibit readability not inhibit readability
errors which inhibit
readability

Total ____

FA/e 179 Instructor: Rod McKee

2023-2024
İSTANBUL BİLGİ Quiz 1 Rubric
UNIVERSITY

Paragraph marking criteria

Area Description of criteria Points

(maximum 5)

Format:  The paper is formatted correctly (11/12 pt type, Arial,Times

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New Roman, 1.5 spaced. Name, date, class code). _____

Organization:
 There is a clear topic sentence that tells the reader what he/she
will learn in the paragraph _____

 Each paragraph has supporting material (facts, examples,

statistics, quotations, explanations, etc.) Sourced correctly. _____(x2)

 The writer has given his/her opinion clearly in the paragraph _____

 Each paragraph has unity (no off-topic sentences). _____

 Each paragraph has coherence (flow: uses a variety of _____

transitions, logical order).

 The paragraph ends with a conclusion sentence which leaves _____

the reader with the writer’s final thoughts on the topic.

Content:  The response answers the quiz question fully, and shows that _____
the writer used care and thought.

Language:  The language in the essay is clear and and grammar errors do _____
no inhibit readability.

Scoring TOTAL: 50(x2)

5 = Excellent (criteria exceeds requirements)
4 = Good (criteria successfully fulfilled)
3 = Satisfactory (criteria fulfilled)
2 = Unsatisfactory (criteria rarely fulfilled)
1 = Unacceptable (criteria barely fulfilled)
O = Not sumbmitted
Rubric and checklist Quiz 2 ‘Summary’ (Week 9/10)
Summary Checklist YES  NO 

Does the summary start by stating the full

source? (name, publication and date)
Does the summary attribute to the author/text
throughout the summary?

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Does the summary contain the key ideas in the

original?

Is the summary short and concise?

Does the summary maintain objectivity

throughout?

Is the summary in your own words?

Is the summary comprehensible / clear for a

reader unfamiliar with the original text?

Is the summary well-organized?

Does the summary use a variety of reporting

verbs?

Is the summary accurate? (spellings / grammar /

vocabulary)

100 points

Appendix 2 Weekly materials Types of reading texts Week 2

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Cornell note-taking templates -Week 4

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FA/e 179
2023-2024
Week 5-6
Supporting Opinions Using
İSTANBUL BİLGİ UNIVERSITY Evidence
English For Academic Purposes

Evidence
It is not possible to evaluate opinions when they are stated alone. There needs to be supporting
explanations. Such explanations/support, called evidence, comes in a variety of forms.

More often evidence includes-

 Personal experience
 Observations
 Research studies
 Statistics
 Citing authorities
 Comparisons and analogies
 Causes and effects
 Facts
 Details about past events or incidents
 Logical explanations

Personal experience: Writing about things that have happened to you personally to help support the idea
you are writing about

Turkey was wrong to not to sign or ratify the Kyoto Protocol and this could affect its EU membership.
Many countries now have a negative opinion of the Turkish government’s stand on global warming.
When travelling in Western Europe, some Europeans told me that Turkey not signing the Protocol was
just one more reason that Turkey should not be a member of the EU.

Observations: Writing about things you have witnessed to help support the idea you are writing about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. Not only would it help global warming, but
it would also make daily life in Turkey’s cities more agreeable. Walking around Istanbul is terrible due to
the pollution and it is continually getting worse. Factories, car exhausts, trash dumps seem to be on the
increase instead of the decrease.

Research studies: Using information from outside studies to help support the idea you are writing about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. Global warming could wreck the the world
economy as badly as it did the world wars or the Great Depression, the British government said in a
report issued October 30, 2006.

Statistics: Using numerical data (percentages, fractions etc.) to help support the idea youare writing
about.

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Turkey was wrong to not to sign or ratify the Kyoto Protocol. Announcing the report, Prime Minister
Tony Blair said unabated climate change would eventually cost the world between 5 percent and 10
percent of the global gross domesitic product each year, and called for “bold and decisive action” to cut
carbon emissions.

Citing authorities: Using quotations, paraphrases and summaries from reliable outside sources to help
support the idea you are writing about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. “It is not in doubt that, if the science is
right, the consequences for our planet are literally disastrous”, Prime Minister Blair said. “This disaster is
not set to happen in some science-fiction future many years ahead, but in our lifetime.”

Comparisons and analogies: A comparison is comparing two or more items and determining which is
more suitable for your idea. An analogy is showing how two differing situations or processes are similar.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. By not signing the accord the government
said it is defending the rights of national business interests in the country. Opponents to this say that
defending the rights of businesses to pollute now will affect their future business profits later. Obviously,
the Turkish government is not thinking of the long term advantages to its national business interests or to
the world’s.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. Not agreeing with the rest of the world to
curb global warming was like watching someone hit your best friend and not doing anything.

Causes and effects: Writing about the reasons and or results or consequences for the idea you are writing
about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. The results of not acting to curb global
warming are terrible. For example, more that a million species worldwide could be driven to extinction by
2050 according to David Bejerlie of Time magazine.

Facts: Using objective statements of truths to help support the idea you are writing about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. The world environment is changing quickly
with devastating results. According to the “An Inconvenient Truth” website, the number of Category 4
and 5 hurricanes has almost doubled in the last 30 years and the flow of ice from glaciers from Greenland
has more than doubled over the past decade.

Details about past events or incidents: Using historical information to help support the idea you are
writing about.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. The future will look bleak for the world.
Scientists first noticed global warming with the hole in the ozone widening over the arctic. Since then,
global temperatures and sea levels have been increasing year by year.

Logical explanations: Extending or elaborating the discussion of your idea in a coherent manner.

Turkey was wrong to not to sign or ratify the Kyoto Protocol. Our country is now sharing ranks and
linked with other countries that did not sign or ratify the Protocol. For example, ‘wonderful’ countries
such as Chad, Afghanistan, Iraq and Bosnia.

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Appendix 3 – Course related articles

(Adopted from Freeland, Cynthia A..; But Is It Art? : An Introduction to Art Theory Account:
2001 OUP)

(Chapter 2 page 36-42)

---------------------------------------------paradigms and purposes---------------------------------------------

Chartres and medieval aesthetics

Our virtual tour now moves on to medieval France and the thriving city of Chartres in the
year 1200. We will again find an art form woven into the fabric of the city’s religious and civic
life. Chartres was a centre of worship and part of the new Marian cult which was just starting to
inject a powerful feminine element into Christianity. The cathedral, rebuilt after a fire in 1194,
houses a sacred relic, a bit of fabric allegedly from Mary’s tunic. The vault was completed in
1222—truly amazing progress, especially since it was hardly unique in France in that time.
Chartres won the competition with its record high nave at a time when similar projects were
under way in nearby Amiens, Laon, Reims, Paris, and other cities. Local lords and trade guilds
made great donations of riches to ornament the cathedral, most notably, its unrivalled stained-
glass windows.
The cathedral was the scene of trials and festivals, as well as worship. Within its walls people
might sleep overnight, bring their dogs, hold guild meetings, and operate small booths selling
their wares, like religious souvenirs and memorabilia—even wine (to avoid taxes). While social
and cultural details help us understand some aspects of the cathedral’s function, it also
exemplifies medieval ideals of art. Gothic architecture has a particular look: the pointed or
ogival arch, ribbed vaults, rose windows, towers, and tremendous height in the nave, supported
by flying buttresses. The Cathedral of Notre-Dame at Chartres is an early and fine example of
Gothic style, largely the same as it was 800 years ago, with many of its original 1,800 sculptures
and 182 original stained-glass windows. Chartres’ architect (simply ‘the master of Chartres’)
was clearly on top of the newer developments of medieval aesthetics. A remarkable fact is that
the main entry portal has statues of pagan philosophers like Aristotle and Pythagoras, amid
hundreds of saints and apostles. Why?
The study of classical Greek philosophy had a profound impact upon all forms of cultural
production in Europe in the Middle Ages. Dante (1265–1321) in his Divine Comedy pays tribute
to the classics: recall that Vergil is Dante’s guide through Hell, and that Aristotle resides in the
Inferno’s highest circle, discoursing with other Greek writers in an afterlife spared from physical
torment. At Chartres’ famous school of theology, classical authors were studied as part of the

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‘liberal arts’. Platonic philosophy guided the aesthetic ideals of Chartres’ builders; a historian of
cathedrals goes so far as to write, ‘Gothic art would not have come into existence without the
Platonic cosmology cultivated at Chartres . . .’
Actual theorizing about beauty in this time period was particularly advanced by Thomas
Aquinas (1224– 1274), who was not a member of the School of Chartres. More influenced by
Aristotle than by Plato, he was to philosophize in Paris at the new university there later in the
thirteenth century. Aquinas was the first major Christian thinker to write about beauty (and
other topics) while absorbing ideas in newly discovered and translated texts from Aristotle,
introduced into Europe (particularly through Spain) only a century earlier through the
mediation of Islamic culture.
Medieval philosophers, at either Chartres or Paris, did not theorize about ‘art’ as such, since
their focus was on God. Unlike Plato and Aristotle, Aquinas did not defend an account of art as
imitation. Aquinas theorized that Beauty was an essential or ‘transcendental’ property of God,
like Goodness and Unity. Human artworks should emulate and aspire to God’s marvellous
properties. The medievals followed three key principles for beautiful creations like cathedrals:
proportion, light, and allegory.
Guidelines about proportion were transmitted to cathedral builders from scholars in the
School of Chartres, who refined theories inherited from Roman-era thinkers like St Augustine.
The geometry ofa cathedral was held to add to its music-like harmony. This influence dates
back to Plato’s Timaeus, where the creative ‘Demi-Urge’ used geometry to plan an orderly
material world. The Christian God too was seen as the master builder of the cosmos. Exacting
rules were applied to the design of portals, arches, and windows, and dictated proportions of
arches and galleries. Geometry ruled the design of the church itself, built in the form of a cross,
with cross-arms proportional to the arms of a human figure. It is no surprise after all, then, to
find Pythagoras, father of geometry, pictured in Chartres’ sculptures.
Chartres’ new luminosity and stained-glass windows illustrate a second principle of medieval
aesthetics. In early Christian thought there is a strong dichotomy between (divine) light and
(earthly) material dross. The neoplatonic Book of John construes Christ as the light of the world.
Since a Gothic cathedral is the house of God, light is visible proof that the divine is present.
Streaming though beautiful stained-glass images, this light conveys the glory of Heaven as the
jewelled city. Aquinas also emphasized light, using the term claritas, which denotes internal
brightness and design. For him, divinity is present in the internal forms of things on earth. A
cathedral, like a good and beautiful person, should have organic unity and manifest claritas.
Vision affords us a way of appreciating the claritas of something beautiful—like Chartres
cathedral.

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Everything in Chartres Cathedral, from its maze to its lofty vaulted nave and wondrous stained glass, alluded to
heaven and drew believers to God’s kingdom.

The master of Chartres enhanced luminosity to demonstrate God’s heavenly illumination.

Exterior walls supported by a unique two- or three-tiered sort of flying buttress promoted
greater height for the vault. The master got rid of galleries (balconies) along the walls,

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permitting higher and brighter clerestory windows overhead. He also made possible a larger
role for the rose windows. The church’s remarkable stained glass and sculptures all told stories,
from which Christian worshippers learned theology and Biblical narratives. This brings us to the
third principle of medieval aesthetics, allegory.
Everything in a Gothic cathedral is like a book full of meaning; cathedrals have been called
‘encyclopaedias of stone’. The entire cathedral is an allegory for Heaven, since it is the House of
God. All aspects of the cathedral at Chartres had allegorical meaning: the rose window referred
to the orderly cosmos. The square, which illustrated moral perfection, was used to design
portions of the façade, towers, bases of windows, walls of the interior, and even the stones
themselves.
For a medieval philosopher like Aquinas, allegory was a logical way to understand how God is
present in the world. Each thing in the world could be a sign from God. In the sculptures and
windows of Chartres, the placement of figures or scenes showed how each story was related to
others. Pythagoras and Aristotle appeared in the portal columns underneath statues devoted to
Mary, showing that the Liberal Arts (and their respective fields of geometry and rhetorical
persuasion) must support and be mastered by theology. Similarly, a stained-glass window
showing the story of the Good Samaritan was related both to an Old Testament story told
below it and to a depiction of Jesus above, with a strict order of reading from bottom to top and
from left to right. The size, layout, and relationships among all the sculptural groupings and
doorways, as among all the windows and their parts, were dictated by the same rules of
proportion that governed other aspects of the cathedral.
Chartres manifested an array of artistic expertise ranging from architectural design to the
highly skilled labour of masons, woodcarvers, stonecutters, window painters, and others.
Individuals of great ability worked here, perhaps receiving high pay and recognition, but
ultimately subordinating their efforts to the spiritual purpose of the whole. The result of
collaboration at Chartres is an overall harmony serving the three primary Gothic aesthetic
principles of proportion, light, and allegory.

Copyright © 2001. OUP Oxford. All rights reserved. May not be reproduced in any form without
permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.

EBSCO Publishing : eBook Academic Collection (EBSCOhost) - printed on 9/17/2020 4:03 AM via
ISTANBUL BILGI ÜNIVERSITESI AN: 561689 ; Freeland, Cynthia A..; But Is It Art? : An Introduction to Art
Theory Account: s3455783

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From Freeland, Cynthia A..; But Is It Art? : An Introduction to Art. Copyright © 2001. OUP
Oxford

Chapter 5
--------------------------------------Gender, genius, and Guerrilla Girls---------------------------------
Gender, genius, and Guerrilla Girls Minority groups have begun to create art institutions of their own,
and among these groups are women—not a minority in the population, but a definite minority in
standard histories of art. Feminism has had a major impact in other spheres, so it is not surprising to find
it in art theory too. One of the best-known women painters, Georgia O’Keeffe, always resisted the label
‘woman artist’. By contrast, Judy Chicago was aggressively female in The Dinner Party, the 1979 work
which helped launch the feminist art movement. Her triangular dinner table installation celebrated
prominent women at place settings done in traditionally ‘female’ mediums of embroidery and china
painting, each plate adorned with vaginal imagery of fruits and flowers. The controversial Dinner Party is
now homeless, dismantled, and in storage. It is even scorned by many feminists as ‘essentialist’—too
closely tied to conceptions of an allegedly universal female biology. Is gender relevant to art—to work
an artist makes, or to meaning? What about sexual orientation? Robert Mapplethorpe flaunted his
sexual preferences in his art. But what about artists from the past, like Leonardo? Recent scholarship
suggests that composer Franz Schubert was gay; but, as one news story covering a 1992 musicology
conference asked, ‘If he was, so what?’ It seems that some people think it matters—though why, and
whether for good reasons, remains to be seen. This chapter addresses the relevance of gender and
sexuality to art.

Gorilla tactics
In 1985 a group of women artists in New York organized to protest against sexism in the art world. The
‘Guerrilla Girls’ hid their identity under furry gorilla masks. Apart from their unique headgear, they
dressed conventionally in black attire, even in short skirts with high heels. To complement their saucy
use of the label ‘girls’, the ‘G-Girls’ created billboard-style posters using bold black text and graphics that
grab the viewer’s attention. Plus, they used humour—to show that feminists do have some

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This Guerrilla Girls ad explains where to find women in a museum: How Women Get Maximum Exposure,
1989

One Guerrilla Girls’ ad, ‘How women get maximum exposure’ (1989), done in vivid (banana) yellow,
depicted an Ingres reclining nude topped by a big gorilla head. Underneath, the text asked, ‘Do women
have to be naked to get in the Met?’ The poster said that only 5 per cent of the artists in the modern
section of the Metropolitan Museum are female, compared to 85 per cent of the nudes. Another poster
listed ‘Advantages of being a woman artist’, such as ‘not having to deal with the pressure of success’. Yet
another poster listed more than 60 female and minority artists and told the art buyer that he could have
acquired one from each for the $17.7 million spent on a Jasper Johns painting. The Guerrilla Girls’ ads
are published in magazines, pasted up as street signage or slapped onto bathroom walls in museums
and theatres. Some ads lampoon prestigious galleries and curators. They satirized a 1997 still-life exhibit
at MoMA which featured only four women among 71 artists. The Girls believe their posters have had an
impact: ‘[Gallery owner] Mary Boone is too macho to admit we influenced her in any way, but she never
represented any women until we targeted her’. To point out sexism in other fields, they have protested
the absence of women in theatre’s Tony awards: only 8 per cent of the plays produced on Broadway
were written by women. Several of their ads underscore the absence of women as film directors. One
poster reshaped the Oscar award statuette to look more like the men who actually receive him, showing
the once-sleek golden man as portly, slump-shouldered, and pale. The ‘Girls’ recently published their
own art history, The Guerrilla Girls’ Bedside Companion to the History of Western Art (1998). It argues,
with humour and satire, that more women should be included in standard art histories and in museums.
The ex-slave Harriet Powers was using African symbolism in quilts based on Biblical themes in the early
part of this century, before Picasso and Matisse, so the ‘Girls’ demand that all modern art curators now
take crash courses in the history of quilting. The G-Girls also decry the fact that Georgia O’Keeffe’s
sexual flower imagery gets described by male critics in terms that make her sound like a ‘sex-obsessed
nymphomaniac’, whereas, ‘When a guy shows his libido in his art, it’s usually thought of as a noble gift
to the world that is really about larger philosophic and aesthetic ideas’.

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No great women artists?

Some of the problems the Guerrilla Girls identify have been addressed by more conventional art
theorists.
Linda Nochlin wrote an influential essay in 1971 ‘Why Have There Been No Great Women Artists?’,
where she noted:

There are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or
Matisse, or even, in very recent times, for de Kooning or Warhol, any more than there are black American
equivalents for the same.

Nochlin knew of women artists in the past, like Rosa Bonheur and Suzanne Valadon—even of famous
ones like Helen Frankenthaler. We might defend their greatness or ‘equivalence’ to male artists. But
Nochlin thought it would be hard to find female parallels to the greatest male artists, and this inspired
her essay. She also pointed out that good women artists had nothing special in common as women—no
‘essence’ of femininity linked their styles. To explain female absences from art, remember the social and
economic facts of women’s lives in the past. It is what Nochlin calls a ‘myth of the Great Artist’ to
imagine that greatness will be manifested no matter what the surrounding circumstances. Artists need
training and materials. Famous painters often came from specific social groups, and many had artist
fathers who supported and encouraged their sons’ interest in art. And far fewer fathers did this with
daughters (but in fact, most of the women who did become painters had artist fathers). Art required
both patronage (which women artists were unlikely to win) and academic training (from which women
were barred). Through much of the past, strict social expectations about women’s roles in family life
discouraged them from seeing art as more than a hobby. Nochlin concluded that women must ‘face up
to the reality of their history and of their present situation, without making excuses or puffing
mediocrity’. Even where women’s contributions have been recognized—for example, in various kinds of
American art pottery—the artists still experienced restrictions and discrimination. Both the great San
Ildefonso potter Maria Martinez and the Hopi potter Nampeyo made pottery while attending to
household chores, child-care, and the significant ritual responsibilities of Pueblo ceremonial society.
Sometimes women’s ambition in their art was restricted by their own sense of what is appropriate to
their gender, or by internalized sexism. For example, Adelaide Alsop Robineau, who carried the torch of
the Arts and Crafts Movement into the United States, wrote words in her magazine Keramic Studio in
1913 that make us cringe today:

[A]s in the spring a young man’s fancy lightly turns to thoughts of love, so in this new spring time of
ceramic opportunity, the young woman’s fancy will turn . . . to thoughts of the beautiful things she can
now make to keep the young man’s fancy fixed, if not on thoughts of love, at least on thoughts of the
attractiveness of food served up in dishes decorated with these new and lovely designs and colors. . . .
For after all eating is the chief end of man, and man is the chief interest of woman, in spite of these days
of suffragettes and politics.

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Gender and genius

Since 1971, when Nochlin wrote her essay, many more women artists have been recognized as
important. In fact, the MacArthur Foundation, which annually funds ‘genius awards’, has given out quite
a few to women artists. Georgia O’Keeffe now has her own museum (in Santa Fe), and since 1990 there
has been a National Museum of Women in the Arts in Washington, DC. Women photographers and
artists such as Cindy Sherman, Barbara Kruger, and Jenny Holzer, working in new media like
photography, neon signs, and LED panels, have achieved fame and international recognition. We could
say that the social conditions have changed enormously to facilitate more female participation in the
arts and greater recognition of women artists’ merits. But some people might suspect instead we have
watered down or altered old notions of greatness and genius. Let us go back into the origins of the use
of this term (‘genius’) to apply to art. Genius, you may recall, was something that Kant invoked in his
Critique of Judgment to label the mysterious quality in an artist that enabled him (sic) to create work
with beauty. ‘Genius’ is what ‘gives the rule to art’, meaning that an artist somehow can make materials
come together into a form that is recognizably beautiful to viewers, setting the example for later artists
to follow. But there is no rule to predict or explain how people can do this—it’s just their genius. The
sculptor who made the famous Laocöon grouping showing a scene from Greek mythology, where a man
and his two young sons struggle, about to be devoured by snakes, showed genius in capturing emotion
in formed stone. Kant did not know about Cubism or Abstract Expressionism, of course, but he might
make similar points about why a particular Picasso or Pollock painting is beautiful or shows genius. Such
paintings are pathbreaking in the way they reshape our perceptions. Genius belongs to creators who
employ their medium so that all viewers can respond with awe and admiration.

Genius is often cited to excuse or justify an artist’s strange behaviour (Van Gogh’s cutting off his ear),
abandonment of ordinary obligations (Gauguin’s running off to Tahiti), or alcoholism, womanizing, and
mood swings (Pollock). It is difficult to imagine a woman in the 1950s getting away with Pollock’s bad
boy antics, like urinating into Peggy Guggenheim’s fireplace when a crowd was gathered to see one of
his paintings. In a study of how the notion of genius evolved, Gender and Genius, Christine Battersby
argues that ‘genius’ came into its modern use only towards the end of the eighteenth century. In this
time period people revised both Renaissance and ancient views of men’s and women’s natures. The late
medieval picture of lustful woman (think of the Wife of Bath in Chaucer’s Canterbury Tales) was
replaced by a view of woman as pure and gentle. Perhaps strangely, the male became more associated
with a set of qualities including not just reason but also imagination and passion. Genius was now seen
as something ‘primitive’, ‘natural’, and unexplained by reason. It was almost like a creative fit to which
the artist (whether Shakespeare, Mozart, or Van Gogh) was subject as art flooded from his very pores.
As the notion of genius got tied to men, there were peculiar shifts and diagnoses: Rousseau denied that
women could be geniuses because they lack the requisite passion, but Kant reversed things by insisting
that genius obeys a sort of law or inner duty, and claiming that women lacked such discipline on their
emotions— they must derive it from their husbands or fathers!

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Canons away
By challenging the exclusion of women from lists of great artists or musicians, feminists are questioning
the canon in these fields. The canon in art or music is the list of ‘great’ people or ‘geniuses’ that made
their mark in that field. In art it would include Michelangelo, David, and Picasso; in music Bach,
Beethoven, and Brahms. The term derives from the ancient Greek word kanon, which designated a
straight rod, ruler, or exemplary model. Canons in a field get entrenched: they appear everywhere, in
courses, textbooks, bibliographies, institutions. They reinforce the public’s view about what counts as
‘quality’ in a field. Feminists criticize canons because they enshrine traditional ideas about what makes
for ‘greatness’ in art, literature, music, etc; and this ‘greatness’ always seems to exclude women. There
are two main types of feminist critique of canons. The option chosen by the Guerrilla Girls in their
revisionist history can be called the ‘Add Women and Stir’ approach. These feminists’ goal is to include
more women in the canon of great and important art. This involves research to uncover lost or forgotten
great women in a field, or to seek ‘Foremothers’—as the Guerrilla Girls look to find lesbian or minority
artists whose work deserves more study and recognition. The second option is to do a more radical re-
examination of the whole idea of a canon (or, ‘Down with Hierarchy!’). The feminist asks how canons
have become constructed, when, and for what purposes. Canons are described as ‘ideologies’ or belief
systems that falsely pretend to objectivity when they actually reflect power and dominance relations (in
this case, the power relations of patriarchy). This second approach advocates a careful re-examination of
the standards and values that contributed to formulation of the canon. What does the omission (or the
exceptional inclusion) of women tell us about problems with the values in a field? Perhaps instead of
creating a new and separate female canon, we need to explore what existing canons reveal.

Canon revision in art and music

The ‘Add women and stir’ approach shows up in some major textbooks in art and music history.
Feminism has led to increased awareness of certain painters of the past, such as Artemisia Gentileschi
and Rosa Bonheur. Gentileschi survived rape and vilification in a trial where her rapist, and former
teacher, was found not guilty after her own character was sullied. Some critics suggest that Artemisia
‘got even’ with men with her depictions of very powerful female figures such as Judith from the Bible,
beheading the foul man Holofernes. Artemisia’s Judith is not a delicate flower who recoils from her task,
but a muscular woman who boldly does the deed amid spurting blood. Similarly, Rosa Bonheur actually
had to get legal permission to wear trousers while trudging through muddy streets of Paris to visit
slaughterhouses and horse stables for her animal studies. She flourished as an artist and was
successfully unconventional, never marrying but sharing her life with a female companion. When
Nochlin wrote her article back in 1971, standard histories of art, like E. H. Gombrich’sThe Story of Art
and H. W. Janson’s History of Art, mentioned no women artists by name. (Janson even had an
Introduction called ‘The Artist and His Public’.) Janson’s book continues to be prominent; History of Art
is used in college classrooms across the United States. In its present fifth and revised edition (1995), the
text mentions and reproduces works by many contemporary women painters, such as Lee Krasner
(Jackson Pollock’s wife), Audrey Flack, Elizabeth Murray, and others. Even its historical chapters include
works by women, such as the Dutch flower painter Rachel Ruysch and the English portraitist Angelica
Kauffmann, along with one of Rosa Bonheur’s majestic horse paintings. There is even a letter by

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Artemisia Gentileschi in the ‘Primary Sources’ section. The inclusion of all these women in Janson’s and
other modern art history textbooks shows the impact feminism has had on the field. (Janson’s
Introduction is now headed, ‘Art and the Artist’.) But the Guerrilla Girls still lampoon Janson’s book in
their own version of art history, by recreating its cover in one of their poster-style artworks, defaced by
a bit of graffiti so that it reads, ‘History of Mostly Male Art’. Let’s switch to music history. In Gender and
the Musical Canon, Marcia J. Citron studied relatively new textbooks of music history to see how they
adopted different models from standard texts of musicology. Some women composers, like Clara
Schumann and Fanny Hensel, are now recognized in major texts—but not many. There are
consequences of canonicity in music: just as people in the history of art books are also the ones whose
works we see in museums, so also do we hear more musical performances of people in the history of
music books. Citron describes how music history is being revised, not as a history of ‘great men’ and
‘periods’, but with more attempts to focus on music’s evolving social function and role. How were
women composers affected by their gender? Often they stopped writing or changed what they did when
they married and began having families. To conform to rigid social expectations (or if forbidden by
husbands), some gave up their work. Fanny Mendelssohn Hensel, the sister of Felix Mendelssohn, was
raised in a supportive context where her mother in particular ensured that she received musical training
equal to her brother’s. Fanny’s talent seemed great, but she was unable to publish her work—in part
because her famous brother insisted it was not appropriate for a woman in her social circles to do so.
Felix wrote to their mother:

Fanny, as I know her, possesses neither the inclination nor calling for authorship. She is too much a
woman for that, as is proper, and looks after her house and thinks neither about the public nor the musical
world, unless that primary occupation is accomplished. Publishing would only disrupt her in these
duties....

Fanny Hensel’s musical ability was confined to work that could be performed in salons and homes
ratherthan in concert halls. Similar obstacles limited the types of output of other female composers.
Citron advocates a social history approach that would challenge the canon in music by focusing more on
how high art and popular music were differentiated, on women’s roles as singers and teachers, on how
audiences were constructed and expected to behave, and so on. Musicology needs to be broadened to
help us understand more facets of music. We could study how women participated in it in ways that
have not been seen as significant by considering ‘women in the salons, women in the Church, women in
the courts, women as patrons, women and the voice, women and the theater, women as music
teachers, women and folk traditions, women and jazz, women and reception, etc.’

More canon blasts

It is too simple in re-examining canons of either art or music history just to find and celebrate famous
foremothers, whether the painters Bonheur and Gentileschi, or musicians like Hildegard of Bingen and
Fanny Hensel. Critics of the ‘Add women and stir’ approach suggest that we start over again, and look
more closely at the very idea of hierarchy created by canons in art and music. A similar approach to
Citron’s revisionist musicology is the book Old Mistresses: Women, Art, and Ideology, by Roszika Parker
and Griselda Pollock. Before the rise of modern art history, earlier histories routinely did recognize
women artists’ contributions. Vasari’s Lives of the Artists, from the Renaissance period, shows women

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artists were recognized for their ability and success in his time. As we just saw, our idea of ‘genius’ is
relatively modern; in much of the past, artists were not seen as expressing deep spiritual needs or letting
genius ‘flow out’ in their art. They were simply skilled craftspeople hired for jobs and trained through a
system of apprenticeship. Art was often a family business, and some artistic families included sisters and
daughters. Tintoretto’s daughter Maria Robusti (1560– 1590) worked as part of his studio system
alongside others. She may have done many portions of his works or even entire paintings, up to the time
of her early death in childbirth—always a risk for women in the past. Medieval art was also done by both
men and women in varied settings. Both monks and nuns alike made tapestries and illuminated
manuscripts. Queens and ladies of their courts did elaborate needlework as proof not only of ability but
also of lofty social status in Renaissance England. Parker and Pollock explain that some kinds of art, for
example flower painting, were dubbed ‘feminine’ for complex reasons. Women could not study nudes in
the academies from the Renaissance through the nineteenth century to learn life drawing, and this
blocked their participation in the all-important genre of history painting. Northern European flower
paintings that were previously admired began to seem ‘delicate’, ‘feminine’, and ‘weak’ by contrast to
large bold canvases on classical themes. Yet many male artists also have painted flowers: think of
Monet’s water lilies and Van Gogh’s Irises and Sunflowers. So what makes a flower painting ‘feminine’?
Parker and Pollock trace the origins of prejudice to art historians who see both flowers and females as
natural, delicate, and beautiful. Their attitude ignores the content and skill of flower painters. In some
periods or regions, flower paintings epitomized high art, and their artists were honoured—viewers knew
that bouquets in Dutch still-lifes by Maria Oosterwijk and Rachel Ruysch had symbolic meaning as part
of vanitas images. Many artists and scientists alike treasured the seventeenth-century flower paintings
of Maria Sibylla Merian, who made important contributions to botanical and zoological taxonomy with
her detailed, careful studies. A second example concerns twentieth-century textiles and fabric art.
Certain textile arts like Navajo rugs were often hailed as exquisite crafts but not recognized as art. When
rugs or American women’s quilts began to be exhibited in art museums, they were often detached from
their cultural background, with no mention of their functions and origins. Quilts were treated as merely
abstract shapes and patterns, linked up to the then-current trend in ‘high art’ in galleries and museums
(this is much like the elevation of Australian Aborigine dot paintings or African sculpture to abstract art,
which I discussed in Chapter 4). And when quilts, pots, blankets, and rugs got into art museums, they
often were described as being made by ‘anonymous’ or ‘nameless masters’—even when it was known
(or could have been discovered) who produced the work! This suggests that women’s art flows
naturally, without struggle or training, and is too naïve to exemplify an artistic tradition or style. But
tradition plays a significant role in these ‘feminine’ arts, and various types of quilts had specific
meanings and roles in women’s lives. Women quilt-makers often signed and dated their quilts. The
Guerrilla Girls make this clear by discussing the African-American quilt-maker Harriet Powers, whose
works now hang in the Smithsonian and the Boston Museum of Fine Arts.

A feminine essence?
Some women artists have been recognized, like Georgia O’Keeffe. But the Guerrilla Girls complain that
this work is not treated on a par with men’s: it is always downplayed by being labelled ‘female.’ In fact,
Alfred Stieglitz, the gallery owner who later became O’Keeffe’s husband, exclaimed when he first saw
her paintings, ‘At last! Finally a woman on canvas!’ O’Keeffe always pooh-poohed the idea that her

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works were somehow ‘feminine’, but many viewers share Stieglitz’s gut reaction that they express
qualities of female experience. Flowers are sexual organs, and O’Keeffe’s large flower paintings often
depict immense and engorged stamens and pistils, delighting in the petals’ deep folds and plush
textures. They do evoke (female) human genitalia in erotic ways (see Plate V). Judy Chicago, on the
other hand, deliberately gave a sexual connotation to flower imagery on plates of The Dinner Party. She
did not just hint at but really depicted female genitalia. Chicago sought a female representation of
intimacies of the female body to counteract the mostly male depictions of women in pornography and
high art. The Dinner Party celebrated female bodily experiences by linking visual representations to texts
that conveyed women’s power and achievement rather than passivity and availability. But since 1979
when The Dinner Party was first exhibited, many writers, including feminists, have criticized it as either
vulgar or too political, or else as too ‘essentialist’. Some critics argue that art that focuses so much on
anatomy and sexual embodiment ignores differences due to women’s social class, race, and sexual
orientation. The Dinner Party has been called simplistic and reductive—as if the achievements of women
it is meant to celebrate are cancelled out by the omnipresent and repeated vaginal imagery of each
place setting. A more recent strategy that some feminist artists employ, in contrast to Chicago’s
reductive and biological approach, is deconstruction. They ‘deconstruct’ the cultural constructs of
femininity by proposing that femininity is not real, but is the artificial product of images, cultural
expectations, and ingrained behaviours, such as ways of dressing, walking, or using makeup. Many
deconstructive feminists have worked in film and photography. An example of this approach, which
differs radically from Chicago’s, is the photography of Cindy Sherman. Sherman became known in the
1980s for the Untitled Film Stills series in which she depicted herself in a variety of poses and situations.

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Cindy Sherman’s Untitled Film Still # 14, 1978, multiplies images of the artist as if to convey that her
essence can’t be pinned down.

A chameleon, the young and bland-looking artist was unrecognizable from one scene to the next, as she
changed her makeup, hairstyle, pose, and facial expressions. By evoking scenes from old Hollywood
melodramas and thrillers, the images conveyed vague feelings of tension and threat. The ‘real’ woman
behind the scenes remained hidden and could not be ferreted out. Sherman had no ‘essence’ at all—let
alone one rooted in biology or genitals. Instead, in this work she is a construct of the camera, elusive, a
mystery. But the images do not convey a negative message. Rather, they celebrate the female artist’s
ability to turn the tables on the men who have typically been empowered to show women and make
them behave in socially approved ways.

Sex and significance

Let me ask again, in looking at an artwork, is the gender or sexual orientation of the artist important?
My inclination is to waffle: at times yes, and at other times no. Let me clarify this ambiguous answer as I
sum things up. First, the fact is that gender has mattered in the history of art. Renoir allegedly and
notoriously said, ‘I paint with my prick’. Museum walls are dominated by female and not male nudes,
done by male and not female painters, just as the Guerrilla Girls have said. Male artists have often seen
women as not only sexual objects but simultaneously as their inspirations and muses. (Or, like Leonardo
and Michelangelo, they displayed at least some homoerotic interest in idealized male nudes.) And there
have been significant restrictions on women’s ability to produce art and have their work recognized.

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These range from the very overt (such as Rosa Bonheur’s need to petition to wear trousers to visit the
horses she wanted to paint) to the more covert (such as male critics’ comments on O’Keeffe’s flower
paintings). Gender matters if you are looking deeply into questions about who got into the canon of art
or music history and why, with what sorts of work. But it does not seem right to say that Bonheur’s
powerful horses are in any way ‘feminine’ or that, because Fanny Hensel could not get symphonies
produced, her chamber music is somehow ‘female’ in its very nature. This leads to my second point, that
gender can matter in art history (along with sexual preference) if it reflects a deep personal concern that
the artist wants to express in a work. When an artist has any thought or feeling that shows up in a work,
it is usually important to know about that to understand the work better. The artist might have a
political aim (as Goya did in some of his paintings), or may wish to express a religious concern (like
Serrano in Piss Christ), or feelings about death and mortality (like Damien Hirst in his shark piece).
Religion, sexuality, and politics have affected the output, imagery, and styles of artists over the
centuries, from ancient Athens to medieval Chartres, and on up through the Renaissance and beyond.
Given that feminism and gay liberation were important political movements, recent art work
unsurprisingly made gender and sexual orientation important. Such work continues a long-established
tradition. It would be wrong-headed to overlook gender and sexuality in commenting on
Mapplethorpe’s work or Judy Chicago’s Dinner Party; but good art is not exhausted by one theme. An
erotic dimension is consistent with lofty religious or mythological themes (as in Botticelli and Titian); and
a political aim can be shown in work that is formally experimental and striking (like Rivera’s murals or
Picasso’s Guernica). The harder cases are about art where the role of gender in relation to meaning and
expressive aims is unclear, but some critics claim it is relevant. It seems surprising to think that
Schubert’s being gay (if he was) affected the meaning of his music. Some people more readily recognize,
though, that Tchaikovsky’s Pathètique Symphony expresses his tortured emotions about being a
closeted gay man. And the new musicologists do believe they can detect stylistic and musical differences
between the ‘macho’ Beethoven and the more ‘expressive and lyrical’ Schubert. As I implied above,
there are flowers and then there are flowers (or to rephrase Gertrude Stein, sometimes a rose is not a
rose). In order to interpret artworks, we must look beyond gender and sexual preference to the broader
context that gives any art its meaning. For Rachel Ruysch in Holland in the 1740s, flower painting was
part of the tradition of the vanitas image. For Judy Chicago in San Francisco in the 1970s, flower imagery
alluded to free female sexuality and a feminist stance about values and histories. O’Keeffe’sflowers
seemed to revel in a woman’s independent awareness of her physical and spiritual self. But this is not all
that her work is about; O’Keeffe painted many subjects besides flowers; and even her flower images are
also ‘about’ form, light, composition, and abstraction—just as female nudes by Picasso and De Kooning
are ‘about’ cubism or expressionism, as well as libido. Attention to sexuality may be relevant, but
ultimately we need to think more deeply about how to interpret art. That will be our topic for Chapter 6

Copyright © 2001. OUP Oxford. All rights reserved. May not be reproduced in any form without
permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.

EBSCO Publishing : eBook Academic Collection (EBSCOhost) - printed on 9/17/2020 3:59 AM via
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Week 8 - Summary

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Sunday, 20 July 2008

Why don't General Motors Sell Crack? -

Michael Moore
People in the business world like to say, "Profit is supreme." They like chanting that.

"Profit is king." That's another one they like to repeat. They don't like to say, "I'll pick up the
check." That means less profit. Profit is what it's all about. When they say "the bottom line," they
mean their profit. They like that bottom line to contain a number followed by a lot of zeroes.

If I had a nickel for every time I heard some guy in a suit tell me that "a company must do
whatever is necessary to create the biggest profit possible," I would have a very big bottom line
right now. Here's another popular mantra: "The responsibility of the CEO is to make his
shareholders as much money as he can."

Are you enjoying this lesson in capitalism? I get it every time I fly on a plane. The bottom-line
feeders have all seen Roger & Me, yet they often mistake the fuselage of a DC-9 for the Oxford
Debating Society. So I have to sit through lectures ad nauseam about the beauties of our free
market system. Today the guy in the seat next to me is the owner of an American company that
makes office supplies in Taiwan. I ask the executive, "How much is 'enough'?"

"Enough what?" he replies.

"How much is 'enough' profit?"

He laughs and says, "There's no such thing as 'enough'!"

"So, General Motors made nearly $7 billion in profit last year, but they could make $7.1 billion
by closing a factory in Parma, Ohio, and moving it to Mexico, that would be okay?"

"Not only okay," he responds, "it is their duty to close that plant and make the extra $.1 billion."

"Even if it destroys Parma, Ohio? Why can't $7 billion be enough and spare the community?
Why ruin thousands of families for the sake of $0.1 billion? Do you think this is moral?"

"Moral?" he asks, as if this is the first time he's heard that word since First Communion class.
"This is not an issue of morality. It is purely a matter of economics. A company must be able to
do whatever it wants to make a profit." Then he leans over as if to make a revelation I've never
heard before.

"Profit, you know, is supreme."

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So here's what I don't understand: if profit is supreme, why doesn't a company like General
Motors sell crack? Crack is a very profitable commodity. For every pound of cocaine that is
transformed into crack, a dealer stands to make a profit of $45,000. The dealer profit on a two-
thousand-pound car is less than $2,000. Crack is also safer to use than automobiles. Each year,
40,000 people die in car accidents. Crack, on the other hand, according to the government's own
statistics, kills only a few hundred people a year. And it doesn't pollute.

So why doesn't GM sell crack? If profit is supreme, why not sell crack?

GM doesn't sell crack because it is illegal. Why is it illegal? Because we, as a society, have
determined that crack destroys people's lives. It ruins entire communities. It tears apart the very
backbone of our country. That's why we wouldn't let a company like GM sell it, no matter what
kind of profit they could make.

If we wouldn't let GM sell crack because it destroys our communities, then why do we let them
close factories? That, too, destroys our communities.

As my frequent-flier friend would say, "We can't prevent them from closing factories because
they have a right to do whatever they want to in order to make a profit."

No, they don't. They don't have a "right" to do a lot of things: sell child pornography,
manufacture chemical weapons, or create hazardous products that could conceivably make them
a profit. We can enact laws to prevent companies from doing anything to hurt us.

And downsizing is one of those things that is hurting us. I'm not talking about legitimate layoffs,
when a company is losing money and simply doesn't have the cash reserves to pay its workers.
I'm talking about companies like GM, AT&T, and GE, which fire people at a time when the
company is making record profits in the billions of dollars. Executives who do this are not
scorned, picketed, or arrested, they are hailed as heroes! They make the covers of Fortune and
Forbes. They lecture at the Harvard Business School about their success. They throw big
campaign fund-raisers and sit next to the President of the United States. They are the Masters of
the Universe simply because they make huge profits regardless of the consequences to our
society.

Are we insane or what? Why do we allow this to happen? It is wrong to make money off people's
labor and then fire them after you've made it. It is immoral for a CEO to make millions of dollars
when he has just destroyed the livelihood of 40,000 families. And it's just plain nuts to allow
American companies to move factories overseas at the expense of our own people.

When a company fires thousands of people, what happens to the community? Crime goes up,
suicide goes up, drug abuse, alcoholism, spousal abuse, divorce, everything bad spirals
dangerously upward. The same thing happens with crack. Only crack is illegal, and downsizing
is not. If there was a crack house in your neighborhood, what would you do? You would try to
get rid of it!

I think it's time we applied the same attitudes we have about crack to corporate downsizing. It's

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simple: if it hurts our citizens, it should be illegal. We live in a democracy. We enact laws based
on what we believe is right and wrong. Murder? Wrong, so we pass a law making it illegal.
Burglary? Wrong, and we attempt to prosecute those who commit it. Two really big hairy guys
from Gingrich's office pummel me after they read this book? Five to ten in Sing Sing.

As a society, we have a right to protect ourselves from harm. As a democracy, we have a

responsibility to legislate measures to protect us from harm.

Here's what I think we should do to protect ourselves:

1. Prohibit corporations from closing a profitable factory or business and moving it overseas. If
they close a business and move it within the U.S., they must pay reparations to the community
they are leaving behind. We've passed divorce laws that say that if a woman works hard to put
her husband through school, and he later decides to leave her after he has become successful, he
has a responsibility to compensate her for her sacrifices that allowed him to go on to acquire his
wealth. The "marriage" between a company and a community should be no different. If a
corporation packs up and leaves, it should have some serious alimony to pay.

2. Prohibit companies from pitting one state or city against another. We are all Americans. It is
no victory for our society when one town wins at another's expense. Texas should not be able to
raid Massachusetts for jobs. It is debilitating and, frankly, legal extortion.

3. Institute a 100 percent tax on any profits gained by shareholders when the company's stock
goes up due to an announcement of firings. No one should be allowed to profit from such bad
news.

4. Prohibit executives' salaries from being more than thirty times greater than an average
employee's pay. When workers have to take a wage cut because of hard times, so, too, should the
CEO. If a CEO fires a large number of employees, it should be illegal for him to collect a bonus
that year.

5. Require boards of directors of publicly owned corporations to have representation from both
workers and consumers. A company will run better if it has to listen to the people who have to
build and/or use the products the company makes.

For those of you free-marketers who disagree with these modest suggestions and may end up on
a plane sitting next to me, screaming, "You can't tell a business how it can operate!" I have this
to say: Oh, yes, we can! We legally require companies to build safe products, to ensure safe
workplaces, to pay employees a minimum wage, to contribute to their Social Security, and to
follow a host of other rules that we, as a society, have deemed necessary for our well-being. And
we can legally require each of the steps I've outlined above.

GM can't sell crack. Soon, I predict, they and other companies will not be able to sell us out. Just
keep firing more workers, my friends, and see what happens

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Week 9
(This article was adapted from https://www.arch2o.com/design-studio-architecture-covid/ )

Architecture
In Depth

Design Studio and Architecture

in the Age of COVID-19
COVID-19 Architecture & Design Studio
June 2020
It is no surprise that our cities are shaped by disaster and now we are arising from the
ruins. Just few months ago we were struck by the outbreak of Covid-19 and life has not been
the same ever since. What followed soon changed our outlook on life. Our firm faith in the
solidity of modern life was shaken when we were all sent back to our homes and ordered to
remain indoors at all costs.
The COVID-19 crisis rattled the whole world, but it rattled that of students in particular. Design
studios are left abandoned and architects are home-ridden. It is a time that heightened our
sense of solidarity and independence at the same time. We learned to stand together no matter
how far apart we had to be.
Although we’re living in an incredibly straining times, we are practicing adaptability and our
ability to accept the things we cannot change while making the best of them. During this time
of isolation and turmoil, workers had to get on with their work and students with their studies.
For some fields of study, it was relatively easy to move the content of their courses from the
whiteboard to Zoom meetings and PowerPoints, but students of architecture face a greater
challenge as they were deprived of their creative space: the design studio.

What is design studio teaching?

Design studio teaching is the heart of learning architecture since it provides a creative space for
architecture students to interact with their materials, as well as one another. Design studios are
where the students’ ideas materialize into the real world, but that’s not the only difference that
sets design studio teaching apart from any other form of teaching. The design studio provides
an almost informal environment for students to engage with their tutors and colleagues. In a
sense, design studios take the edge off the seriousness of academia. How were architecture
students possibly able to relive this feeling from home at a time when the world is surrounded
by a sense of impending doom?

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The design studio in the age of COVID-19

The spirit of the design studio was one thing that could not simply be transferred into an online
class. The essence of design studio teaching is interactiveness and this was taken from
architecture students who were suddenly forced to go through such a rich process in 2D
form. This left students to face double the challenge: On the human level, they had to fight the
overwhelming sense of isolation and distance that we all experience, and on top of that, they
had to find their creativity and inspiration while being locked indoors.
Architecture professors took it upon themselves to present their students with design studios
at home. They compiled material and data to give students virtual tours around different sites
and even around the studio itself. They made interactive galleries for different materials and
organized for students to have online meetings after hours as these meetings are reminiscent
of casually running into one’s colleagues and engaging in informal interactions which helped
ease the sense of isolation they experienced.
The idea of shared creative spaces was replaced by the self-sufficiency of working from one’s
own room or home office.

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Courtesy of Architecture Plus Information

Lessons that outlast the crisis

This quarantine taught students to be more considerate of one another and each other’s needs.
They have gained a great understanding of the importance of mental well-being and its effects
on the quality of their work and studies. One of the merits of this crisis is gauging the depth of
human understanding, especially during hard times, as it showed how willing people are to
cooperate with each other and show understanding when times call for it. They have gained the
awareness that one could truly be under so much pressure and fight to remain productive and
rejoice in this achievement. It heightened their senses for teamwork and helped them become
more independent and, in the process, more understanding.
Students are turning their residences into creative spaces so there is no longer need to look for
inspiration outside, it can be found within. Although this change was born out of necessity and
not desire, this greatly reflects on post-COVID-19 architecture as it celebrates individuality and
independence. It is indeed one of the bleakest moments of modernity, as we face how helpless
we could be before a new strain of viruses, but these bleak moments are the ones that truly
shape our future. Architects and architecture students are reflecting on the creative space
within. The landscape they need to roam now reside in their own imagination.

Post-COVID-19 Architecture

Modern architecture is heavily shaped by our fear of diseases, such as tuberculosis and the
plague. Architects focused on designing cities where diseases had no place: they implemented
sewage systems and further insulated the buildings to prevent the fumes of the outside from
seeping inside. They conceived of wide streets with spaced-out lanes that minimize interactions
and safeguard the people.
The role of architects, as well as architecture students, is helping humanity adapt to these
changes by changing the very physical spaces they share. They have to envision how a COVID-

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less future is to look like and work hard to achieve this vision. The first practice of adaptability
was letting go of the design studio and the influence of the outer world in order to survive the
crisis.

Courtesy of VMDO Architects ©

Designs of sterile work environments

One excellent example of the changes that are being introduced to post-COVID-19 architecture
is Zaha Hadid Architects’ Bee’ah New Headquarters in Emirates. Bee’ah Headquarters uses
several new technologies to minimize interaction between individuals while achieving
maximum efficiency. Now employees can call for the elevator using their smartphones to go in
and out of their workspaces without unnecessary physical interaction with their surroundings.
Modern architecture is all about creating a curative environment to prevent such an epidemic
from breaking out again. Some speculate that Covid-19 architecture design is likely going to
change the face of cities once again as people are no longer in favor of multi-apartment
buildings and crowded spaces. Post-COVID-19 architecture is spacious, immaculate, and leaves
no place for disease to thrive in.

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Slack Headquarters Studio O+A. Image © Garrett Rowland and Amy Young

Adaptability and coexistence

While previously societies opted for isolating the ill, now we are learning to coexist with the
disease. There is great hope that this crisis is soon to end, but the lessons humanity learnt are
going to outlast it. This period has opened the architects’ eyes to let go of cramped, compact
designs and embrace openness and spaciousness more. Currently, their main focus is
envisioning designs that can be used from now on, and not just temporarily. Such designs
include offices that offer personal space and follow the guidelines of social distancing that are
sterile and sustainable. The new designs they are aiming for are fresh and green, they embrace
the outdoors and integrate nature in modern architecture.
Courtesy of ODA New York

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Appendix 4 - Architecture & Design related vocabulary

Word List: terms used in architecture

https://www.collinsdictionary.com/word-lists/architecture-terms-

used-in-architecture

architecture: terms used in

architecture
abutment or abuttal a construction that takes the thrust of an arch or
vault or supports the end of a bridge
architectonic denoting, relating to, or having architectural qualities
architectonics the science of architecture
astylar without columns or pilasters
bolster a short horizontal length of timber fixed to the top of a post to
increase the bearing area and reduce the span of the supported beam
bracket a support projecting from the side of a wall or other structure
castellated or castled having turrets and battlements, like a castle
cinquecento the 16th century, esp in reference to Italian art, architecture,
or literatüre
cloistered (of a building, courtyard, etc) having or provided with a cloister
colossal or giant of or relating to the order of columns and pilasters that
extend more than one storey in a façade
composite denoting or relating to one of the five classical orders of
architecture: characterized by a combination of the Ionic and Corinthian
styles
cradling a framework of iron or wood, esp as used in the construction of a
ceiling
crenellate or (U.S.) crenelate to form square indentations in (a moulding,
etc)

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denticulate having dentils

diastyle having columns about three diameters apart
diminish to cause (a column, etc) to taper
dipteral having a double row of columns
drum one of a number of cylindrical blocks of stone used to construct the
shaft of a column
elevation a drawing to scale of the external face of a building or structure
engaged built against or attached to a wall or similar structure
eurhythmy harmonious structure
fenestrated having windows or window-like openings
filler a small joist inserted between and supported by two beams
flamboyant of, denoting, or relating to the French Gothic style of
architecture characterized by flamelike tracery and elaborate carving
floor plan a drawing to scale of the arrangement of rooms on one floor of a
building
floriated or floreated having ornamentation based on flowers and leaves
florid excessively ornate
fluted (esp of the shaft of a column) having flutes
foliated ornamented with or made up of foliage or foils
foliation ornamentation consisting of foliage; ornamentation consisting of
cusps and foils
galilee a porch or chapel at the entrance to some medieval churches and
cathedrals in England
galleria a central court through several storeys of a shopping centre or
department store onto which shops or departments open at each level
ground plan a drawing of the ground floor of a building, esp one to scale
hexastyle a portico or façade with six columns
high-pitched (of a roof) having steeply sloping sides
hip the angle formed where two sloping sides of a roof meet or where a
sloping side meets a sloping end
hipped having a hip or hips
hypostyle having a roof supported by columns

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imbricate or imbricated relating to or having tiles, shingles, or slates that

overlap
intercolumniation the horizontal distance between two adjacent columns;
the system of spacing for a set of columns
invert an arch that is concave upwards, esp one used in foundations
joggle post or king post a post or beam consisting of two timbers joined
to each other by joggles
lanceted having one or more lancet arches or Windows
lierne a short secondary rib that connects the intersections of the primary
ribs, esp as used in Gothic vaulting
lintel or summer a stone on the top of a column, pier, or wall that supports
an arch or lintel
listed building (in Britain) a building officially recognized as having special
historical or architectural interest and therefore protected from demolition or
alteration
loggia a covered area on the side of a building, esp one that serves as a
porch
member a component part of a building or construction
module a standard unit of measure, esp one used to coordinate the
dimensions of buildings and components; in classical architecture, half the
diameter of a column at the base of the shaft
Moresque (esp of decoration and architecture) of Moorish style
naos an ancient classical temple
order any of the five major classical styles of architecture classified by the
style of columns and entablatures used
orientation the siting of a church on an east-west axis, usually with the
altar at the E end
polychromy decoration in many colours, esp in architecture or sculpture
postiche (of architectural ornament) inappropriately applied; sham
profile a view or representation of an object, esp a building, in contour or
outline
prostyle (of a building) having a row of columns in front, esp as in the
portico of a Greek temple
pulvinate or pulvinated (of a frieze) curved convexly; having a swelling

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queen post one of a pair of vertical posts that connect the tie beam of a
truss to the principal rafters
rampant (of an arch) having one abutment higher than the other
rendering a perspective drawing showing an architect's idea of a finished
building, interior, etc
respond a pilaster or an engaged column that supports an arch or a lintel
return any part of an architectural feature that forms an angle with the
main part
rhythm(in painting, sculpture, architecture, etc) a harmonious sequence or
pattern of masses alternating with voids, of light alternating with shade, of
alternating colours, etc
ribbon development the building of houses in a continuous row along a
main road: common in England between the two World Wars
rise the height of an arch above the impost level
rusticate to finish (an exterior wall) with large blocks of masonry that are
separated by deep joints and decorated with a bold, usually textured, design
sexpartite (esp of vaults, arches, etc) divided into or composed of six parts
shaft a column that supports a vaulting rib, sometimes one of a set
shafting a set of shafts
shell the external structure of a building, esp one that is unfinished or one
that has been gutted by fire
soffit the underside of a part of a building or a structural component, such
as an arch, beam, stair, etc
springing, spring, springing line, or springing point the level where an
arch or vault rises from a support
stilted (of an arch) having vertical piers between the impost and the
springing
storey a floor or level of a building
stria a narrow channel, such as a flute on the shaft of a column
stringer, string, or string coursea long horizontal beam that is used for
structural purposes
stylobate a continuous horizontal course of masonry that supports a
colonnade
subbase the lowest part of a pedestal, base, or skirting

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summer or summer tree a stone on the top of a column, pier, or wall that
supports an arch or lintel
supercolumnar having one colonnade above another; placed above a
colonnade or a column
surbase the uppermost part, such as a moulding, of a pedestal, base, or
skirting
tailpiece or tail beama short beam or rafter that has one end embedded in
a Wall
trabeated or trabeate constructed with horizontal beams as opposed to
arches
tympanic of, relating to, or having a tympanum
underpitch vault of or relating to a type of groin-vaulted ceiling
construction

Word List: architectural styles

https://www.collinsdictionary.com/word-lists/architecture-
architectural-styles

architecture: architectural
styles
Art Deco a style of interior decoration, jewellery, architecture, etc, at its height in
the 1930s and characterized by geometrical shapes, stylized natural forms, and
symmetrical utilitarian designs adapted to mass production
Art Nouveau a style of art and architecture of the 1890s, characterized by swelling
sinuous outlines and stylized natural forms, such as flowers and leaves
Baroque a style of architecture and decorative art that flourished throughout
Europe from the late 16th to the early 18th century, characterized by extensive
ornamentation
Bauhaus a German school of architecture and applied arts founded in 1919 by
Walter Gropius on experimental principles of functionalism and truth to materials.
After being closed by the Nazis in 1933, its ideas were widely disseminated by its
students and staff, including Kandinsky, Klee, Feininger, Moholy-Nagy, and Mies van
der Rohe
brutalism an austere style of architecture characterized by emphasis on such
structural materials as undressed concrete and unconcealed service pipes.

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Byzantine of or relating to the style of architecture developed in the Byzantine

Empire, characterized by massive domes with square bases, rounded arches, spires
and minarets, and the extensive use of mosaics
churrigueresque or churrigueresco of or relating to a style of baroque
architecture of Spain in the late 17th and early 18th centuries
classical of, relating to, or characteristic of the ancient Greeks and Romans or their
civilization, esp in the period of their ascendancy
colonial denoting, relating to, or having the style of Neoclassical architecture used
in the British colonies in America in the 17th and 18th centuries
Composite denoting or relating to one of the five classical orders of architecture:
characterized by a combination of the Ionic and Corinthian styles
Corinthian of, denoting, or relating to one of the five classical orders of
architecture: characterized by a bell-shaped capital having carved ornaments based
on acanthus leaves.
Decorated style a 14th-century style of English architecture characterized by the
ogee arch, geometrical tracery, and floral decoration
Doric of, denoting, or relating to one of the five classical orders of architecture:
characterized by a column having no base, a heavy fluted shaft, and a capital
consisting of an ovolo moulding beneath a square abacus
Early Christian denoting or relating to the style of architecture that started in Italy
in the 3rd century ad and spread through the Roman empire until the 5th century
Early English a style of architecture used in England in the 12th and 13th
centuries, characterized by lancet arches, narrow openings, and plate tracery
Edwardian denoting, relating to, or having the style of life, architecture, dress, etc,
current in Britain during the reign of Edward VII
Elizabethan of, relating to, or designating a style of architecture used in England
during the reign of Elizabeth I, characterized by moulded and sculptured ornament
based on German and Flemish models
Empire denoting, characteristic of, or relating to either French Empire, esp the first:
in particular, denoting the neoclassical style of architecture and furniture and the
high-waisted style of women's dresses characteristic of the period
Federation a style of domestic architecture of that period, characterized by red
brick, terracotta roof tiles, sinuous curves, and heavy window frames
functionalism the theory of design that the form of a thing should be determined
by its use
Georgian a person belonging to or imitating the styles of either of the Georgian
periods in England
Gothic denoting, relating to, or resembling the style of architecture that was used
in W Europe from the 12th to the 16th centuries, characterized by the lancet arch,
the ribbed vault, and the flying buttress

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Gothic Revival a Gothic style of architecture popular between the late 18th and
late 19th centuries, exemplified by the Houses of Parliament in London (1840)
Greek Revival denoting, relating to, or having the style of architecture used in
Western Europe in the late 18th and early 19th centuries, based upon ancient Greek
classical examples
International Style or Modernist a 20th-century architectural style characterized
by undecorated rectilinear forms and the use of glass, steel, and reinforced
concreteIonicof, denoting, or relating to one of the five classical orders of
architecture, characterized by fluted columns and capitals with scroll-like ornaments
Jacobean denoting, relating to, or having the style of architecture used in England
during this period, characterized by a combination of late Gothic and Palladian
motifs
Louis Quatorze designating or of the style of furniture, architecture, etc. of the
time of Louis XIV of France, characterized by massive, baroque forms and lavish
ornamentation
Louis Quinze designating or of the style of furniture, architecture, etc. of the time
of Louis XV of France, characterized by rococo treatment with emphasis on curved
lines and highly decorative forms based on shells, flowers, etc.
Louis Seize designating or of the style of furniture, architecture, etc. of the time of
Louis XVI of France, which is characterized by a return to straight lines, symmetry,
and classic ornamental details
Louis Treize designating or of the style of furniture, architecture, etc. of the time
of Louis XIII of France, characterized by Renaissance forms, rich inlays, etc.
mannerism a principally Italian movement in art and architecture between the
High Renaissance and Baroque periods (1520–1600) that sought to represent an
ideal of beauty rather than natural images of it, using characteristic distortion and
exaggeration of human proportions, perspective, etc
moderne of or relating to the style of architecture and design, prevalent in Europe
and the US in the late 1920s and 1930s, typified by the use of straight lines, tubular
chromed steel frames, contrasting inlaid woods, etc
Moorish or Morisco of or relating to the Moors 2 denoting the style of architecture
used in Spain from the 13th to 16th century, characterized by the horseshoe arch
Mudéjar of or relating to a style of architecture originated by Mudéjares
neoclassicism a late 18th- and early 19th-century style in architecture, decorative
art, and fine art, based on the imitation of surviving classical models and types
Norman denoting, relating to, or having the style of Romanesque architecture used
in Britain from the Norman Conquest until the 12th century. It is characterized by
the rounded arch, the groin vault, massive masonry walls, etc
Palladian denoting, relating to, or having the neoclassical style of architecture
created by Palladio

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perpendicular denoting, relating to, or having the style of Gothic architecture used
in England during the 14th and 15th centuries, characterized by tracery having
vertical lines, a four-centred arch, and fan vaulting
postmodernism contrasting with international modernism and featuring elements
from several periods, esp the Classical, often with ironic use of decoration
Queen-Anne a style of furniture popular in England about 1700–20 and in America
about 1720–70, characterized by the use of unencumbered curves, walnut veneer,
and the cabriole legRegencycharacteristic of or relating to the Regency periods in
France or the United Kingdom or to the styles of architecture, furniture, art,
literature, etc, produced in them
Renaissance the spirit, culture, art, science, and thought of this period.
Characteristics of the Renaissance are usually considered to include intensified
classical scholarship, scientific and geographical discovery, a sense of individual
human potentialities, and the assertion of the active and secular over the religious
and contemplative life
Rococo a style of architecture and decoration that originated in France in the early
18th century, characterized by elaborate but graceful, light, ornamentation, often
containing asymmetrical motifs
Roman denoting, relating to, or having the style of architecture used by the ancient
Romans, characterized by large-scale masonry domes, barrel vaults, and
semicircular arches
Romanesque denoting, relating to, or having the style of architecture used in W
and S Europe from the 9th to the 12th century, characterized by the rounded arch,
the groin vault, massive-masonry wall construction, and a restrained use of
mouldings
Saracen designating, characterizing, or relating to Muslim art or architecture
Saxontransition or transitional a style of architecture that was used in western
Europe in the late 11th and early 12th century, characterized by late Romanesque
forms combined with early Gothic details
Tudor denoting a style of architecture of the late perpendicular period and
characterized by half-timbered houses
Tuscan of, denoting, or relating to one of the five classical orders of architecture:
characterized by a column with an unfluted shaft and a capital and base with
mouldings but no decoratio
Victorian denoting, relating to, or having the style of architecture used in Britain
during the reign of Queen Victoria, characterized by massive construction and
elaborate ornamentation

See also list of architects -

https://www.collinsdictionary.com/word-lists/architecture-architects

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Chart of Descriptive Design Words and Terms:

LINE
Actual, blurred, broken, contour, controlled, curved, diagonal, freehand, fuzzy
Horizontal, implied, interrupted, meandering, patterned, ruled, short, straight,
thick, thin, vertical, wide

TEXTURE

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Actual, bumpy, corrugated, flat, furry, gooey, leathery, prickly, rough, sandy
shiny, simulated, smooth, soft, sticky, tacky, velvety, wet

SHAPE/FORM
Amorphous, closed, distorted, flat, free, form, geometric, heavy, isomorphic,
light
linear, massive, nebulous, open, organic

COLOR
brash, bright, calm, clear, complementary, contrasting, cool, dull, dusty,
exciting
garish, grayed, monochromatic, multicolored, muted, pale, polychromatic,
primary
saturated, secondary, subdued, tertiary, tinted, triad, vibrant, warm

VALUE
dark, light, medium, opaque, transparent (what percentage?)

SPACE
ambiguous, background, closed, deep, flat, foreground, middleground, open
positive/negative, shallow, three dimensional, two dimensional

https://www.sinclairdesignstudio.com/descriptive_design_art_words.php

myvocabulary.com -- Word Lists, Word Games and Vocabulary Puzzles

Alphalary for Interior Design (286)

A) Absolute, Accent, Accentuate, Accessorize, Acquisition, Adjust, Adjustment, Affect,
Agreement, Ambiance, Analysis, Antique, Appeal, Appointment, Appreciation, Approach,
Arrangement, Array, Art, Artsy, Assignment, Assistant, Associate, Atmosphere, Authority,
Aware
B) Billing, Bold, Bright, Budget, Buy, Buyer
C) Calendar, Camera, Career, Carpet, Certainty, Characteristic, Cheerful, Choices, Choose,
Chose, Classes, Classy, Client, Cluster, Clutter, Collect, Collection, Color, Colorful,

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Comfortable, Complement, Compliment, Consideration, Consultation, Contemporary,

Contract, Cost, Costly, Cramped, Create
D) Dark, Data, Date, Decision, Definite, Degree, Delivery, Design, Designer, Details, Devote,
Discuss, Display, Distracting, Drab, Dramatic
E) Edge, Effect, Effort, Energy, Energy, Enhance, Estimate, Expensive, Experience,
Experience, Extensive, Extras
F) Fabric, Fashionable, Fastidious, Feel, Feeling, Feminine, Feng shui, Field, Flair, Flooring,
Flow, Focus, Folio, Formal, Forte, Furniture
G) Ghastly, Glance, Gloomy, Gloss, Graceful, Guesstimate
H) Harmony, Hire, Homeowner, Honest, Hunch
I) Ideas, Image, Imaginative, Imbue, Impact, Implementation, Imported, Impractical,
Impression, Incorporate, Inexpensive, Informal, Integrity, Intelligent, Intention, Interior,
Intimate, Intuitive, Investigate, Investment, Inviting, Invoice, Involvement, Issues
J) Just right, Justification
K) Kit
L) Large, Leather, Light, Listening, Living, Local, Location, Logical
M) Markers, Mart, Masculine, Material, Measure, Meetings, Method, Minimalist, Modern, Mood
N) Natural, Needs, Neighborhood, Neutral, Noticeable
O) Obsessed, Obsession, Off-white, Old-fashioned, One-of-a-kind, Opinion, Opinionated,
Opportunity, Order, Outcome, Overwhelming
P) Paint, Palate, Pale, Passion, Pencil, Personal, Personality, Personalize, Philosophy, Piece,
Placement, Pleasant, Plush, Portfolio, Positioning, Positive, Possibilities, Precise, Predict,
Premise, Preparation, Problem, Professional, Profit, Project, Project, Promote, Provide,
Purchase, Purity
Q) Quality, Quantity, Queries
R) Receptive, Recommendation, Recommended, Remodel, Rental, Requirement, Research,
Restful, Restoration, Right
S) Sample, Scheduling, Screen, Search, Sensations, Senses, Shopping, Sketch, Sketchpad,
Skill, Skills, Slick, Solution, Solve, Sophisticated, Space, Spacious, Spectrum, Spree, Stable,
Stark, Strength, Stress, Strong, Style, Subdued, Suitable, Survey
T) Taste, Theme, Theory, Therapeutic, Time, Timing, Tool kit, Traditional, Trait, Treat,
Treatment, Trendy, Truthful, Tweak, Type
U) Unique, Unit, Unsure, Unusual, Upscale, Usual
V) Variety, Vibes, Viewpoint, Visit, Vivid
W) Wall to wall, Walls, Warmth, Waver, Work, Wrong
X)
Y) Young, Youthful
Z) Zealous

All rights reserved. Vocabulary University® - Copyright 2020.

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Appendix 3 - Art & Design Vocabulary

Art Vocabulary Word List (378)

A) Ability, Absorbing, Abstract, Acclaimed, Acquisition, Acrylic, Adaptation, Adept, Aesthetic, Aficionado, Analogous,
Angular, Appreciation, Arrangement, Array, Artistic, Artlessness, Assemblage, Assemble, Assist, Assistance,
Asymmetry, Attempt, Attraction, Audience, Audience, Authentic, Avid, Award-winning, Axis
B) Background, Balance, Baroque, Beauty, Beholder, Bias, Blur, Bravado, Bravo, Brushwork
C) Caliber, Canvas, Captivate, Capture, Carve, Caution, Celebrity, Ceramics, Chalk, Charcoal, Charisma, Clamor,
Classic, Clay, Collaboration, Collage, Collection, Color, Commanding, Commitment, Communication, Competition,
Complementary, Component, Composition, Concave, Concentration, Connoisseur, Contour, Contract, Contrast,
Contribution, Converge, Convex, Cool color, Coordination, Crafts, Creativity, Crescendo, Crowd-pleasing, Culture,
Curator, Curve
D) Dabble, Dazzle, Debut, Decor, Decorative, Demonstration, Depth, Design, Device, Diagonal, Diffuse, Digital image,
Direction, Disorganized, Display, Distraction, Diverse, Diversity, Dramatic, Drive, Dynamic
E) Effect, Element, Eloquence, Emotion, Endurance, Energy, Ensemble, Entertainment, Essence, Euphoric, Evaluation,
Exaggeration, Exalt, Execution, Exemplary, Exhibition, Exposure, Expression, Expressive, Exquisite, Extraordinary
F) Facade, Facets, Facilitate, Falter, Fascination, Features, Finalist, Flat, Flexible, Flourish, Fluid, Fluorescent, Focus,
Foreground, Form, Format, Forte, Framework, Frenzy, Fuzz
G) Gauge, Genius, Genre, Geometric, Gesture, Glare, Glaze, Gloss, Graceful, Graphic

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H) Harmony, Hatching, Hiatus, Highlight, Hone, Horizon line, Hue, Humanities, Hype
I) Iconic, Idealization, Illumination, Illustration, Illustrious, Image, Imagery, Imagination, Impact, Impression,
Impressionist, Impressive, Impromptu, Inclination, Inconsistent, Individual, Influence, Infusion, Innovative, Insight,
Inspirational, Instrumental, Integrity, Intensity, Intent, International, Interpretation, Inventive
J) Jagged, Jargon, Judge, Judgment, Juxtaposition
K) Keen, Key
L) Landscape, Legendary, Light source, Lighting, Line, Lively, Luminous, Luster, Lyrical
M) Magic, Major, Manifestation, Masterwork, Maximize, Meager, Measure, Media, Medium, Memorable, Minimize, Minor,
Mixed, Momentum, Mood, Motion, Motivate, Motivation, Movement, Movies, Muse
N) Neutral, Niche, Nimble, Nostalgia, Notation, Nuance
O) Ocher, Oomph, Opportunity, Opt, Optimal, Ornate, Outline, Outstanding, Oval, Overlap, Overture
P) Painting, Palette, Parallel, Participation, Passionate, Pastel, Pattern, Perception, Perpendicular, Persistence,
Perspective, Perspiration, Phenomenal, Pigment, Pinnacle, Placement, Popular, Portrait, Portrayal, Pose, Position,
Potent, Pottery, Powerful, Practice, Prelude, Premiere, Presence, Pressure, Primary, Professional, Profile, Project,
Promising, Proportion, Provocative
Q) Quality, Quantity, Quick, Quintessential, Quirk
R) Realistic, Recede, Recognition, Refine, Repetition, Reputation, Resilient, Resonance, Response, Restraint,
Retrospective, Revival, Rhythm
S) Scale, Scenery, Scheme, Sculpt, Sculpture, Secondary, Shade, Shadow, Shallowness, Shapes, Sharp, Sketch, Skill,
Solo, Soulful, Space, Spectacular, Spectrum, Speculation, Spin, Spirit, Spontaneity, Spotlight, Stamina, Star, Status,
Still life, Stipple, Straight, Streak, Strength, Stretch, Stunning, Style, Sublime, Subtle, Symbolic, Symmetry
T) Talent, Technical, Technicolor, Technique, Tertiary, Texture, Tint, Tone, Training, Transform, Transformation,
Transmission
U) Ultimate, Unbelievable, Unconventional, Unique, Unity, Unprecedented, Unusual
V) Value, Vanguard, Vanishing point, Variation, Variety, Veer, Version, Vertical, Vibrant, Viewpoint, Visibility, Vision,
Visual, Vital, Volatile
W) Warm, Watercolor, Whirl
X)
Y)
Z) Zeal, Zest, Zip

Appendix 5 - Bloom’s Taxonomy

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161